DOCSLIB.ORG

Appendix. Seventeenth-Century Operas (And Related Genres) on Commercial DVD

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Appendix. Seventeenth-Century Operas (And Related Genres) on Commercial DVD Appendix. Seventeenth-century operas (and related genres) on commercial DVD (Multiple entries for the same opera are in chronological order by performance date.) Blow, John and unidentified librettist. Venus and Adonis. Louise Moaty, director. Bertrand Cuiller, music director. Filmed at the Théâtre de Caen in 2013. Alpha, 2013. Cavalieri, Emilio de’ and Agostino Manni. La rappresentatione di Anima e di Corpo. Enrico Castiglione, director. Lorenzo Tozzi, music director. Filmed in Rome at the Basilica San Paolo fuori le mura in 2000. Trinidad Entertainment, 2000. Cavalli, Pier Francesco and Giovanni Faustini. La Calisto. Herbert Wernicke, director. René Jacobs, music director. Filmed in Brussels at the Théâtre Royal de la Monnaie in 1996. Harmonia Mundi, 2006. Cavalli and Giovanni Francesco Busenello. La Didone. Facoltà di Design e Arti IUAV— Venezia (laboratories directed by Carlo Majer), stage direction. Fabio Biondi, music director. Filmed in Venice at the Teatro Malibran in 2006. Dynamic, 2007. ———. La Didone. Clément Hervieu-Léger, director. William Christie, music director. Filmed at the Théâtre de Caen in 2011. Opus Arte, 2012. Cavalli and Faustini; libretto completed by Nicolò Minato. Elena. Jean-Yves Ruf, director. Leonardo Garcia Alcarón, music director. Filmed at the Festival Aix-en- Provence, 2013. Ricercar, 2014. Cavalli and Francesco Buti. Ercole amante. David Alden, director. Ivor Bolton, music director. Filmed in Amsterdam at Het Musiektheater in 2009. Opus Arte, 2010. Cavalli and Giacinto Andrea Cicognini. Il Giasone. Mariame Clément, director. Federico Maria Sardelli, music director. Filmed in Antwerp at the Vlaamse Opera in 2010. Dynamic, 2012. Cavalli and Faustini. La Virtù de’ strali d’Amore. Facoltà di Design e Arti IUAV— Venezia (laboratories directed by Carlo Majer), stage direction. Fabio Biondi, music director. Filmed in Venice at the Teatro Malibran in 2008. Naxos, 2011. Charpentier, Marc-Antoine and Père François Bretonneau. David et Jonathas. Andreas Homoki, director. William Christie, music director. Filmed in Aix-en-Provence in 2012. Bel Air Classiques, 2013. Charpentier and Thomas Corneille. Médée. Olivier Simonnet, director. Hervé Niquet, music director. Filmed in Versailles at the Opéra Royal in 2004. Harmonia Mundi, 2005. Landi, Stefano and Giulio Rospigliosi. Il Sant’Alessio. Benjamin Lazar, director. William Christie, music director. Filmed at the Théâtre de Caen in 2007. Virgin Classics, 2007. Lully and Jean-Baptiste Poquelin dit Molière. Le Bourgeois Gentilhomme. Benjamin Lazar, director. Vincent Dumestre, music director. Filmed in Paris at the Théâtre Le Trianon in 2004. Alpha, 2005, reissued 2008. Lully, Jean-Baptiste and Philippe Quinault. Armide. Robert Carsen, director. William Christie, music director. Filmed in Paris at the Théâtre des Champs-Élysées in 2008. FRA Musica, 2011. ———. Atys. Jean-Marie Villégier, director. William Christie, music director. Filmed in Paris at the Opéra Comique in 2011. FRA Musica, 2011. ———. Cadmus et Hermione. Benjamin Lazar, director. Vincent Dumestre, music director. Filmed in Paris at the Opéra Comique in 2008. Alpha, 2008. ———. Persée. Marshall Pynkoski, director. Hervé Niquet, music director. Filmed in Toronto at the Elgin Theatre in 2004. EuroArts, 2005. Monteverdi, Claudio and Busenello. L’incoronazione di Poppea. Jean-Pierre Ponnelle, director. Nikolaus Harnoncourt, music director. Filmed in a studio in Vienna in 1979; audio taped in Zurich at the Opernhaus in 1978. Deutsche Grammophone, 2006. ———. L’incoronazione di Poppea. Peter Hall, director. Raymond Leppard, music director. Filmed at the Glyndebourne Festival in 1984. Kultur Video, 2004. ———. L’incoronazione di Poppea. José Montes-Baquer, director. René Jacobs, music director. Filmed at the Schwetzinger Festspiele in 1993. Arthaus Musik, 2001. ———. L’incoronazione di Poppea. Pierre Audi, director. Christophe Rousset, music director. Filmed in Amsterdam at Het Musiektheater in 1994. Opus Arte, 2005. ———. L’incoronazione di Poppea. Klaus Michael Grüber, director. Marc Minkowski, music director. Filmed at the Festival Aix-en Provence in 2000. Bel Air Classiques, 2006. ———. L’incoronazione di Poppea. Robert Carsen, director. Emmanuelle Haïm, music director. Filmed at the Glyndenbourne Festival in 2008. Decca, 2009. ———. L’incoronazione di Poppea. David Alden, director. Harry Bicket, music director. Filmed in Barcelona at the Gran Teatre del Liceu in 2009. Opus Arte, 2012. ———. L’incoronazione di Poppea. Ole Anders Tandberg, director. Alessandro di Marchi, music director. Filmed at the Norwegian National Opera in 2010. EuroArts, 2011. ———. L’incoronazione di Poppea. Jean-François Sivadier, director. Emmanuelle Haïm, music director. Filmed in Lille at the Opéra in 2012. Virgin Classics, 2013. Monteverdi and Alessandro Striggio. L’Orfeo. Jean-Pierre Ponnelle, director. Nikolaus Harnoncourt, music director. Filmed in Zurich at the Opernhaus in 1977–1978. Deutsche Grammophone, 2007. ———. L’Orfeo. Pierre Audi, director. Stephen Stubbs, music director. Filmed in Amsterdam at the Nederlandse Opera in 1997. Opus Arte, 2005. ———. L’Orfeo. Trisha Brown, director. René Jacobs, music director. Filmed in Brussels at the Théâtre Royal de la Monnaie in 1998. Harmonia Mundi, 2006. ———. L’Orfeo. Gilbert Deflo, stage director. Jordi Savall, music director. Filmed in Barcelona at the Gran Teatre del Liceu in 2002. Opus Arte and BBC Television, 2002. ———. L’Orfeo. Jacky Lautem and Jean-Claude Malgoire, directors. Malgoire, music director. Filmed in Tourcoing (France) at the Teatro Municipale in 2004. Dynamic, 2005. ———. L’Orfeo. Pier Luigi Pizzi, director. William Christie, music director. Filmed in Madrid at the Teatro Real in 2008. Dynamic, 2009. ———. L’Orfeo. Robert Wilson, director. Rinaldo Alessandrini, music director. Filmed in Milan at the Teatro La Scala in 2009. Opus Arte, 2011. ———. L’Orfeo. Paul Agnew, stage and music director. Filmed at the Théâtre de Caen in 2017. Harmonia Mundi, forthcoming in late autumn 2017. Monteverdi and Giacomo Badoaro. Il ritorno d’Ulisse in patria. Peter Hall, director. Raymond Leppard, music director. Filmed at the Glyndebourne Festival in 1973. Arthaus Musik, 2006. ———. Il ritorno d’Ulisse in patria. Jean-Pierre Ponnelle, director. Nikolaus Harnoncourt, music director. Filmed in a studio in Vienna in 1979; audio taped in Zurich at the Opernhaus in 1979. Deutsche Grammophone, 2006. ———. Il ritorno d’Ulisse in patria. Pierre Audi, director. Glen Wilson, music director. Filmed in Amsterdam at Het Musiektheater in 1998. Opus Arte, 2005. ———. Il ritorno d’Ulisse in patria. Klaus Michael Grüber, director. Nikolaus Harnoncourt, music director. Filmed in Zurich at the Opernhaus in 2002. Arthaus Musik, 2012. ———. Il ritorno d’Ulisse in patria. Adrian Noble, director. William Christie, music director. Filmed at the Festival Aix-en-Provence in 2002. Virgin Classics, 2003. ———. Il ritorno d’Ulisse in patria. Pierre Luigi Pizzi, director. William Christie, music director. Filmed in Madrid at the Teatro Real in 2009. Dynamic, 2010. ———. Il ritorno d’Ulisse in patria. Mariame Clément, director. Emmanuelle Haïm, music director. Filmed in Paris at the Théâtre des Champs-Élysées in 2017. Rhino Warner Classics, 2017. Purcell Henry and Nahum Tate, Dido and Aeneas. Peter Maniura, director. Richard Hickox, music director. Filmed at Hampton Court House, England, in 1995. Kultur Video, 2008. ———. Dido and Aeneas. Barbara Willis Sweete, director. Mark Morris, choreographer. Jeanne Lamon, music director. Filmed in 1995, at an unidentified location. Rhombus Media, 1995; Image Entertainment, 2000. ———. Dido and Aeneas: A Choreographic Opera. Sasha Waltz, director and choreographer. Attilio Cremonesi, music director. Filmed in Berlin at the Staatsoper Unter den Linden in 2005. Arthaus Musik, 2005; reissued 2008. ———. Dido and Aeneas. Deborah Warner, director. William Christie, music director. Filmed in Paris at the Opéra Comique in 2008. FRA Musica, 2009. ———. Dido and Aeneas. Wayne McGregor, director. Christopher Hogwood, music director. Filmed in London at the Royal Opera House, Covent Garden, in 2009. Opus Arte, 2009. ———. Dido and Aeneas. Cécile Roussat and Julien Lubeck, directors. Vincent Dumestre, music director. Filmed at the Opéra de Rouen Haute-Normandie in 2014. Alpha, 2014. Purcell. Libretto after William Shakespeare. The Fairy Queen. David Pountney, director. Nicholas Kok, music director. Filmed in the London Coliseum by the English National Opera in 1995. Arthaus Media, 1995; Image Entertainment, 1995; Kultur Video, 2009. ———. The Fairy Queen. Jonathan Kent, director. William Christie, music director. Filmed in Lewes at the Glyndebourne Opera House in 2009. Opus Arte, 2010. Purcell, John Dryden, and Sir Robert Howard. Indian Queen. Revised by Peter Sellars, director. Teodor Currentzis, music director. Filmed in Madrid at the Teatro Real in 2013. Sony Classical, 2016. Purcell and Dryden. King Arthur. Jürgen Flimm, director. Nikolaus Harnoncourt, music director. Filmed in Salzburg at the Felsenreitschule in 2004. EuroArts, 2005. ———. King Arthur. Corinne and Gilles Benizio, directors. Hervé Niquet, music director. Filmed at the Opéra national de Montpellier in 2009. Glossa, 2009. Rossi, Luigi and Francesco Buti. L’Orfeo. Stéphane Vérité, director. Raphaël Pichon, musical director. Filmed in Nancy at the Opéra national de Lorraine in 2016. Harmonia mundi, 2017. .
Load more

Recommended publications
  • Mozart Magic Philharmoniker
    THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro).
    [Show full text]
  • A Countertenor's Reference Guide to Operatic Repertoire
    A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources.
    [Show full text]
  • GODFREY REGGIO (Director, Koyaanisqatsi) Is a Pioneer of a Film Form That Creates Poetic Images of Extraordinary Emotive Impact
    GODFREY REGGIO (Director, Koyaanisqatsi) is a pioneer of a film form that creates poetic images of extraordinary emotive impact. Reggio is best known for the Qatsi Trilogy – essays of image and music, speechless narrations which question the world in which we live. Born in New Orleans in 1940, Reggio entered the Christian Brothers, a Roman Catholic Pontifical Order, at age 14 and remained as a monk until 1968. In 1963, he co-founded Young Citizens for Action, a community organization of juvenile street gangs. Reggio co-founded La Clinica de la Gente and La Gente, a community organizing project in Northern New Mexico’s barrios. In 1972, he co- founded the Institute for Regional Education in Santa Fe, a nonprofit organization focused on media, the arts, community organization and research. In collaboration with the New Mexico Chapter of the American Civil Liberties Union, Reggio co- organized a multimedia public interest campaign on the invasion of privacy and the use of technology to control behavior. Reggio’s collaboration on Koyaanisqatsi with Ron Fricke (Director of Photography) and Philip Glass (Composer) gained an international audience, critical acclaim and launched the Qatsi Trilogy. Koyaanisqatsi has been played live over 200 times in venues worldwide. Reggio’s collaborations with Philip Glass, include: Koyaanisqatsi (1982), Powaqqatsi (1988), Naqoyqatsi (2002), Anima Mundi (1992), Evidence (1995) and Visitors (2013). In 1993, Reggio was invited by Luciano Benetton and Oliviero Toscani to develop a new school “to smell the future” – an enterprise of exploration and production in the arts, technology and mass media. Called Fabrica – Futuro Presente, it opened in the middle of the ‘90s in Treviso, Italy.
    [Show full text]
  • Nexus Conference 2009
    Nexus Conference 2009 Reflections on Man after the End of History Part i . Faith, Death, and Freedom Sunday 6 September 2009 9.15 am — 5.30 pm Muziektheater Amsterdam Speakers Jonathan Sacks - Zainab Al-Suwaij - John Gray Yossi Klein Halevi - Anne Applebaum - Ernst Hirsch Ballin Elisabeth Young-Bruehl - Marc Sageman - Slavoj Žižek - David Modell Ramin Jahanbegloo - Leon Wieseltier - Eva Hoffman - Pierre Audi Charles Rosen - Moshe Halbertal - Nina Khrushcheva Pratap Bhanu Mehta - Tariq Ramadan - John Ralston Saul Karim Wasfi - Ladan Boroumand In cooperation with the Netherlands Opera Attendance at Nexus Conference 2009 We would be happy to welcome you as a member of the audience, but advance reservation of an admission ticket is compulsory. Please register online at our website, www.nexus-instituut.nl, or contact Ms. Ilja Hijink at [email protected]. The conference admission fee is € 75. A reduced rate of € 50 is available for subscribers to the periodical Nexus, who may bring up to three guests for the same reduced rate of € 50. A special youth rate of € 25 will be charged to those under the age of 26, provided they enclose a copy of their identity document with their registration form. The conference fee includes lunch and refreshments during the reception and breaks. Only written cancellations will be accepted. Cancellations received before 21 August 2009 will be free of charge; after that date the full fee will be charged. If you decide to register after 1 September, we would advise you to contact us by telephone to check for availability. The Nexus Conference will be held at the Muziektheater Amsterdam, Amstel 3, Amsterdam (parking and subway station Waterlooplein; please check details on www.muziektheater.nl).
    [Show full text]
  • Henry Purcell, Tatiana Troyanos, Felicity Palmer, Richard
    Henry Purcell Dido & Aeneas mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Dido & Aeneas Country: France Released: 1977 Style: Opera, Baroque MP3 version RAR size: 1624 mb FLAC version RAR size: 1666 mb WMA version RAR size: 1745 mb Rating: 4.4 Votes: 696 Other Formats: MOD DMF WMA MP4 MOD MMF DMF Tracklist Overture A1 Act I: The Palace A2 Act II: Scene 1: The Cave B1 Act II: Scene 2: The Grove 9:25 B2 Act III 19:04 Credits Choir – English Chamber Choir* Conductor – Raymond Leppard Liner Notes – Raymond Leppard Mezzo-soprano Vocals [First Witch] – Alfreda Hodgson Mezzo-soprano Vocals [Sorceress] – Patricia Kern Orchestra – English Chamber Orchestra Soprano Vocals [Belinda] – Felicity Palmer Soprano Vocals [Dido] – Tatiana Troyanos Soprano Vocals [Second Witch] – Linn Maxwell Soprano Vocals [Second Woman (Venus)] – Elizabeth Gale Tenor Vocals [Aeneas] – Richard Stilwell Tenor Vocals [Sailor] – Philip Langridge Notes Liner notes in English, French, Italian, and German. 8-page booklet with lyrics in English, French, Italian, and German. Other versions Category Artist Title (Format) Label Category Country Year Henry Purcell, Henry Purcell, English Chamber English Chamber Orchestra, Tatiana The Classic Orchestra, Tatiana Troyanos, Felicity French ARL1-3021 Troyanos, Felicity ARL1-3021 US 1978 Palmer, Richard Erato Palmer, Richard Stilwell, Raymond Collection Stilwell, Raymond Leppard - Dido & Leppard Aeneas (LP, Box) Henry Purcell, Henry Purcell, English Chamber English Chamber Orchestra, The Orchestra, The English Chamber
    [Show full text]
  • Chaos Theory and Robert Wilson: a Critical Analysis Of
    CHAOS THEORY AND ROBERT WILSON: A CRITICAL ANALYSIS OF WILSON’S VISUAL ARTS AND THEATRICAL PERFORMANCES A dissertation presented to the faculty of the College of Fine Arts Of Ohio University In partial fulfillment Of the requirements for the degree Doctor of Philosophy Shahida Manzoor June 2003 © 2003 Shahida Manzoor All Rights Reserved This dissertation entitled CHAOS THEORY AND ROBERT WILSON: A CRITICAL ANALYSIS OF WILSON’S VISUAL ARTS AND THEATRICAL PERFORMANCES By Shahida Manzoor has been approved for for the School of Interdisciplinary Arts and the College of Fine Arts by Charles S. Buchanan Assistant Professor, School of Interdisciplinary Arts Raymond Tymas-Jones Dean, College of Fine Arts Manzoor, Shahida, Ph.D. June 2003. School of Interdisciplinary Arts Chaos Theory and Robert Wilson: A Critical Analysis of Wilson’s Visual Arts and Theatrical Performances (239) Director of Dissertation: Charles S. Buchanan This dissertation explores the formal elements of Robert Wilson’s art, with a focus on two in particular: time and space, through the methodology of Chaos Theory. Although this theory is widely practiced by physicists and mathematicians, it can be utilized with other disciplines, in this case visual arts and theater. By unfolding the complex layering of space and time in Wilson’s art, it is possible to see the hidden reality behind these artifacts. The study reveals that by applying this scientific method to the visual arts and theater, one can best understand the nonlinear and fragmented forms of Wilson's art. Moreover, the study demonstrates that time and space are Wilson's primary structuring tools and are bound together in a self-renewing process.
    [Show full text]
  • Trojan Women (After Euripides)
    ABOUT THE CAST Trojan Women (after Euripides) September 8–October 1, 2011 At the J. Paul Getty Museum, Getty Villa Akiko Aizawa’s (Kassandra) recent productions with SITI include Antigone, Radio Macbeth, bobrauschenbergamerica, Under Construction, Who Do You Think You Are, and American Document (2010). She has performed at the Brooklyn Academy of Music, American Repertory Theater, Arena Stage, LA Opera, Dance Theater Workshop, and Joyce Theater. Aizawa has appeared at festivals and venues in Edinburgh, Dublin, Bonn, Bobigny, Sydney, Bogotá, Tokyo, Toga, and Moscow. J. Ed Araiza (Menelaus), a SITI Company member, has a long history of working on multicultural and crossdisciplinary projects as a writer, director, and performer. His most recent Los Angeles appearance was in La Victima at the Los Angeles Theatre Center. Araiza’s recent SITI productions include Under Construction and Who Do You Think You Are. In November he will direct The Adding Machine at the University of California, Los Angeles; in January he will direct The Seagull in Windsor, Canada. As a playwright, Araiza has had seven original plays produced. Katherine Crockett (Helen) is a principal dancer with the Martha Graham Dance Company. She danced as Cate Blanchett’s double in The Curious Case of Benjamin Button and played Helen in Richard Move’s The Show (Achilles Heels) with Mikhail Baryshnikov. Crockett also has been a soloist dancer for Robert Wilson, Vanessa Redgrave, Susan Stroman, and designer Alexander McQueen. She is the lead actress in Tiny Dancer, a forthcoming feature film by Jayce Bartok. -more- Page 2 Gian-Murray Gianino (Odysseus) is the newest member of SITI.
    [Show full text]
  • Mcdonald, Bernard M. (2010) Cavalli's "Ormindo": Tonality and Sexuality in Seventeenth-Century Venice
    McDonald, Bernard M. (2010) Cavalli's "Ormindo": tonality and sexuality in seventeenth-century Venice. MMus(R) thesis. http://theses.gla.ac.uk/1958/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Cavalli’s Ormindo: Tonality and Sexuality in Seventeenth-Century Venice by Bernard Michael McDonald Submitted in fulfilment of the requirements of the degree of Master of Music to The Department of Music Faculty of Arts University of Glasgow April 2010 © Bernard McDonald 2010 ABSTRACT Ormindo, the third collaboration between the composer Francesco Cavalli and the librettist Giovanni Faustini, was created for the 1644 carnival opera season at Venice’s Teatro San Cassiano. This thesis, aimed at performers as well as scholars, begins with a brief consideration of the cultural context of early public opera in Venice and the emergence of the musical language of tonality. It goes on to examine how, in setting Faustini’s text, Cavalli represents desire and sexuality, constructs character, and creates a musical narrative. Cavalli’s implementation of the precepts of the seconda prattica is also considered in terms of textural and rhetorical devices.
    [Show full text]
  • Sophocles' Elektra
    DATE: August 12, 2010 FOR IMMEDIATE RELEASE ABOUT THE COMPANY Sophocles' Elektra Thursdays, Fridays, Saturdays, September 9—October 2, 2010 Carey Perloff (Director) Carey Perloff is celebrating her nineteenth season as artistic director of Tony Award-winning American Conservatory Theater (A.C.T.) in San Francisco, where she is known for directing innovative productions of classics, championing new writing for the theater, and creating international collaborations with such artists as Robert Wilson and Tom Stoppard. Before joining A.C.T., Perloff was artistic director of Classic Stage Company (CSC) in New York. She is a recipient of France’s Chevalier de l’Ordre des Arts et des Lettres and the National Corporate Theatre Fund’s 2007 Artistic Achievement Award. Perloff received a B.A. Phi Beta Kappa in classics and comparative literature from Stanford University and was a Fulbright fellow at the University of Oxford. She has taught at the Tisch School of the Arts at New York University and in the Master of Fine Arts Program in Acting at A.C.T., in addition to authoring numerous plays. This is Perloff’s second encounter with Sophocles’ Elektra, having directed the world premiere of Ezra Pound’s version of the play at CSC in 1988. Timberlake Wertenbaker (Translator/Adaptor) Timberlake Wertenbaker is an acclaimed playwright who grew up in the Basque Country in southwest France. Plays include The Grace of Mary Traverse (Royal Court Theatre); Our Country's Good (Royal Court Theatre and Broadway), which won the Laurence Olivier Play of the Year
    [Show full text]
  • About the Cast
    ABOUT THE CAST BURTON CURTIS (Watchman) has performed as Pierrot in Stephen Wadsworth’s productions of Molière’s Don Juan (McCarter Theatre, Shakespeare Theatre Company, The Old Globe, and Seattle Rep). He also portrayed Dumas in Wadsworth’s productions of Marivaux’s Triumph of Love (Long Wharf Theatre, Missouri Rep, and Seattle Rep). Burton originated the role of Eddie Wicket in the west coast premiere of Louis Broom’s Texarkana Waltz (Circle X Theatre Co., L.A. and the Empty Space Theatre, Seattle). He also created the dual roles of Brother Mills and Heathcliff in Wuthering! Heights! The! Musical! and performed in The Complete History of America (Abridged) (Empty Space and Actors Theatre of Louisville). Other roles include Tom in The Glass Menagerie (Tacoma Actors Guild) and Freddy in Noises Off (Village Theatre, Issaquah). He played the title role in Jillian Armenante’s production of Camille and Little Mary in a “gender blind” production of The Women (Annex Theatre, Seattle). Film credits include Crocodile Tears, Money Buys Happiness, and Great Uncle Jimmy as well as Gus Van Sant’s Even Cowgirls Get the Blues. Burton is also a director and choreographer and has received awards for his work on the stage from the Seattle Post Intelligencer and Seattle Weekly. He was listed by Backstage West among “100 Actors We Love.” He received his BFA in theater from Baylor University and now resides in Seattle. Burton is delighted to be making his Getty debut and is thrilled to be joining Mr. Wadsworth in yet another exciting project. NICHOLAS HORMANN (Chorus Leader) has worked in the American theater for thirty-five years, beginning on Broadway with the New Phoenix Repertory Company.
    [Show full text]
  • Trumpet Recordings
    Recommended Recordings Standard Trumpet Literature page 1 Composer Title Performer(s) Record Title Record Company Arban, Jean-Baptiste Carnival of Venice Marsalis, Wynton/Hunsberger, Donald/Eastman Wind Ensemble Carnaval Sony Classical Arban, Jean-Baptiste Carnival of Venice Schwarz/Gerard/Bolcom, WIlliam Cornet Favourites Nonesuch Arban, Jean-Baptiste Fantasia Brillante Marsalis, Wynton/Hunsberger, Donald/Eastman Wind Ensemble Carnaval Sony Classical Arutunian, Alexander Concerto Harjanne, Jouko/The Guards' Band Trumpet Rhapsody Cryston (Octavia) Arutunian, Alexander Concerto Nakariakov, Sergei/Boreyko, Andrey/Jenaer Philharmonie From Russia With Love Teldec Arutunian, Alexander Concerto Payne, Geoffrey/Hopkins, John/Melbourne Symphony Orchestra Trumpet Concertos ABC Classics Bach, Johann Sebastian Brandenberg Concerto No. 2 Marsalis, Wynton/Leppard, Raymond/English Chamber Orchestra The London Concert Sony Bach, Johann Sebastian Brandenburg Concerto No. 2 André, Maurice/Franz Liszt Chamber Orchestra Trumpet Concertos EMI Classics Bach, Johann Sebastian Brandenburg Concerto No. 2 Vosburgh, George/Roth, Arnie/Czech Philharmonic Chamber Orchestra Trumpeter's Heritage Four Winds Barat, Jacques Edouard Andante & Scherzo Stevens, Thomas/Carno, Zito Thomas Stevens: Trumpet Sonatas Crystal Records Bellstedt, Herman Napoli Marsalis, Wynton/Donald Hunsberger/Eastman Wind Ensemble Carnaval Sony Classical Bennett, Robert Russell Rose Variation Hickman, David/Soderholme, Pauline David Hickman, Trumpet Crystal Records Bernstein, Leonard Rondo for
    [Show full text]
  • 1 Remembering Christopher Hogwood (1941-2014) by Michael
    1 Ruhling, Michael E. "Remembering Christopher Hogwood (1941-2014)." HAYDN: Online Journal of the Haydn Society of North America 4.2 (Fall 2014), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2014. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Remembering Christopher Hogwood (1941-2014) by Michael E. Ruhling "You can play things stylishly on the wrong instruments or unstylishly on the right instruments; I hope we’ll get it stylish on the right instruments. It’s just clearing the way so that people hear them as the composer intended, and if he wasn’t a complete idiot, the way he intended is presumably the correct way for them." — Christopher Hogwood (From an article by Luke Conklin in The Julliard Journal, March 2011, announcing a performance with Julliard415.) 2 Ruhling, Michael E. "Remembering Christopher Hogwood (1941-2014)." HAYDN: Online Journal of the Haydn Society of North America 4.2 (Fall 2014), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2014. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Photo by Marco Borggreve. Used with permission. The Haydn Society of North America recently lost one of its original Advisory Board members. Christopher Hogwood passed away September 24 shortly after his 73rd birthday. He had been suffering from a brain tumor for several months. As a keyboardist, conductor, and musicologist, Hogwood leaves an indelible mark on the performance and reception of 18th- and early 19th-century music.
    [Show full text]