111014-15 Bk Salome EU 16/12/2004 11:53Am Page 12

Total Page:16

File Type:pdf, Size:1020Kb

111014-15 Bk Salome EU 16/12/2004 11:53Am Page 12 111014-15 bk Salome EU 16/12/2004 11:53am Page 12 5 Herod finds Salome’s actions monstrous, but 6 Salome is heard; she has kissed the mouth of Herodias thinks she has done well, a remark worthy, Jochanaan, a bitter taste on his lips, a taste of blood Herod says, of his brother’s incestuous wife. Something perhaps, yet tasting perhaps of love, since they say love RICHARD STRAUSS bad will happen, and he calls on Herodias to go in with has a bitter taste. The moon shines out, casting light on him, as he starts to be afraid. The moon is hidden and Salome, as the voice of Herod commands her death. the stars, and Herod bids his servants put out the Soldiers rush in and crush her under their shields. torches. Salome Keith Anderson NS KR ME AU LE S C S 1 954 Recording Producer’s Note The transfer of the complete opera was made from British LP pressings. The original master tape contains some Christel Goltz • Julius Patzak electronic clicks, grittiness and occasional overload distortion, which can also be heard on Decca’s own CD transfer. In the appendix, the Destinn sides were taken from a mid-1930s Victor re-pressing for IRCC, while the Margareta Kenney • Hans Braun Ljungberg and Lawrence recordings were also transferred from quiet, mid- to late-30s U.S. Victors. The Welitsch Anton Dermota was taken from a British LP pressing, and I have preceded it with a rare Reiner Boston appearance from a vinyl V-Disc. Vienna Philharmonic Orchestra Mark Obert-Thorn Clemens Krauss 8.111014-15 12 111014-15 bk Salome EU 16/12/2004 11:53am Page 2 Great Opera Recordings his head, that burns like fire, and can hardly breathe. tiger, as pink as the eyes of wood-pigeons and as green Salome agrees to dance for him, as the voice of as the eyes of cats, opals that sparkle with fire, as cold Jochanaan asks who it is that comes from Edom, with as ice. All this will he give her, with chrysolites and Richard raiment stained scarlet, and Herodias still opposes her beryls and chrysoprases and rubies, and he continues to daughter. list the jewels and gifts that shall be hers. In answer STRAUSS Salome replies with increased vehemence, demanding (1864 – 1949) ( Salome dances her Dance of the Seven Veils, the head of Jochanaan. eventually pausing by Jochanaan’s prison, and then Salome falling at Herod’s feet. 2 Herod gives way, sinking back onto his chair; Music drama in one act after Oscar Wilde’s poem of the same name Salome is her mother’s child. Herodias takes the ring of German text by Hedwig Lachmann ) Herod is delighted and calls Salome to him, ready death from the Tetrarch’s hand and gives it to a soldier, to grant whatever she wishes. She demands on a silver who takes it at once to the executioner. Herod calls out, charger what has been promised, the head of Jochanaan. asking who has taken his ring, as the executioner Salome . Christel Goltz (soprano) Herod demurs, but Herodias applauds her daughter’s approaches the cistern where Jochanaan is imprisoned. Herod Antipas . Julius Patzak (tenor) request. Salome tells him that her request is her own, Herod sees the wine gone from his cup, and fears what Herodias . Margareta Kenney (mezzo-soprano) not her mother’s, and that Herod should keep his oath. may happen. Jochanaan . Hans Braun (baritone) He assures her that he would give her up to half his Narraboth . Anton Dermota (tenor) kingdom, but that what she asks is not his to give. 3 Salome listens above, hearing no sound from Page of Herodias . Else Schürhoff (mezzo-soprano) Salome insists, while Herod still denies her. He tells Jochanaan, who surely should cry out. She calls on the First Jew . Rudolf Christ (tenor) Herodias that he is not speaking to her, but she approves executioner to strike, and hears only the sound of the Second Jew . Hugo Meyer-Welfung (tenor) of Salome’s request. falling sword, the executioner fearing to carry out his Third Jew . Kurt Preger (tenor) task. She calls to the page, telling him to order the Fourth Jew . Murray Dickie (tenor) ¡ Herod bids Herodias be quiet, and begs Salome not soldiers to bring her what she wanted; she calls on the Fifth Jew . Franz Bierbach (bass) to insist on her request; the head severed from a man’s Tetrarch to order the soldiers to bring her what she First Nazarene . Ludwig Weber (bass) body is not a pretty sight, but he will give her a great wants. The arm of the executioner is seen stretching up Second Nazarene . Harald Pröglhöf (tenor) emerald, the finest in the world. Salome continues to from the cistern, bearing the head of Jochanaan on a First Soldier . .Walter Berry (bass) demand the head of Jochanaan, and Herod calls for silver shield. She seizes it. Second Soldier . Herbert Alsen (bass) wine, telling her to think what she is asking; he will give A Cappadocian . Ljubomir Pantscheff (baritone) her his white peacocks, for no other king has such birds. 4 Salome now would kiss the mouth refused her A Slave . Hermann Gallos (tenor) She demands again the head of Jochanaan, and before, and bite it with her teeth, like a ripe fruit; she Herodias adds her approval, to be silenced by her will kiss him, as she said. Why are his eyes, that were so Vienna Philharmonic Orchestra husband. terrible, shut; why does he not look at her; is he afraid? Clemens Krauss, Conductor He spoke bad words to her, the daughter of Herodias, a CD 2 princess, but now she is alive and he is dead, and can do Recorded 15th to 21st March 1954 in the Musikvereinsaal, Vienna what she likes with his head, throw it to the dogs, to the First issued as Decca LXT 2863 and 2864 1 Herod tells Salome to think what she is doing; birds; his body was beautiful like a column of ivory set perhaps the man has been sent by God, a holy man, and on silver, a garden full of doves and silver lilies, nothing Reissue Producer and Restoration Engineer: Mark Obert-Thorn surely she would not want him to commit a sin. Salome in the world so white as his body, so black as his hair, so Special thanks to Lawrence F. Holdridge and Ray Edwards again calls for the head of Jochanaan. He tells her that red as his mouth. If he had looked at her, he would have he has jewels that her mother has never seen, a collar of loved her. pearls set in four rows, topazes yellow as the eyes of the 8.111014-15 2 11 8.111014-15 111014-15 bk Salome EU 16/12/2004 11:53am Page 10 she hears her daughter’s answer. Herodias thinks world’. Herod asks what this last can mean, and a CD 1 67:37 @ Es ist kalt hier? 1:36 Salome does right. Herod calls for fruit, and tells Nazarene tells him that the Messiah has come and (Herod, Herodias) Salome to eat with him, wanting to see the marks of her everywhere works miracles, turning water into wine at a Scene 1 little white teeth in the fruit and urging her to eat. She wedding and healing two lepers in Capernaum; through 1 Wie schön ist die Prinzessin Salome 2:42 # Salome, komm, trink Wein mit mir 2:42 tells him she is not hungry, and Herod turns again to touching them, a second Nazarene adds. He has healed (Narraboth, Page, Soldiers) (Herod, Salome, Herodias) Herodias, who tells him that she and her daughter are of the blind, the first Nazarene continues, and been seen royal blood, while his father was a camel driver, a thief talking with angels on a mountain; he brought to life 2 Nach mir wird Einer kommen 2:35 $ Sieh, die Zeit ist gekommen 0:46 and a robber. He tells Salome to come to him, to sit on again the daughter of Jairus; he can waken the dead. (Jochanaan, Soldiers, A Cappadocian) (Jochanaan, Herodias, Herod) the throne of her mother, but Salome is not tired. Herod Herod forbids waking the dead, and asks where this calls for something, but then forgets what he wants. man is. A Nazarene tells him that he is hard to find, but Scene 2 % Wahrhaftig, Herr, es ware besser 3:00 is in Samaria. Another interrupts to say that he is now 3 Ich will nicht bleiben 1:43 (Jews, Herod, Herodias, First Nazarene) $ The voice of Jochanaan is heard: ‘Lo! The time is near Jerusalem. The voice of Jochanaan is heard (Salome, Page) come! The day of which I spoke!’ Herodias asks for the denouncing the daughter of Babylon. ^ Siehe, der Tag ist nähe 2:43 prophet to be silenced, but Herod tells her that he has 4 Siehe, der Herr ist gekommen 1:36 (Jochanaan, Herod, Nazarenes, Second Jew, said nothing against her, and is, besides, a great prophet. & ‘Let a multitude of men gather against her’, he says, (Jochanaan, Salome, Soldiers, Page) Herodias) She does not believe in prophets, but accuses her ‘let people take stones and stone her. Let the war husband of being afraid of Jochanaan. Herod fears no captains pierce her with their swords, let them crush her 5 Jauchze nicht, du Land Palästina 2:25 & Eine Menge Menschen 2:22 one, but she asks him, then, why he does not hand the beneath their shields’. Herodias would have him (Jochanaan, Salome, Soldiers, Page) (Jochanaan, Herodias, Herod) man over to the Jews.
Recommended publications
  • Parsifal and Canada: a Documentary Study
    Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article.
    [Show full text]
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • English Translation of the German by Tom Hammond
    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
    [Show full text]
  • Der Rosenkavalier by Richard Strauss
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality.
    [Show full text]
  • BEETHOVEN Symphony No
    83: BEETHOVEN Symphony No. 3 'Eroica' Symphony No. 8 CSR Symphony Orchestra Zagreb Philharmonic Michael HalBsz Richard Edlinger 11988 ~ecording1 playing Time :69'23" 1 Ludwig van Beethoven (1770-1827) Symhony No. 3 in E Flat Major, Op. 55 'Eroica' Symphony No. 8 in F Major, Op. 93 Beethoven wrote nine svmphonies, the first heraldina the new centurv, in 1800, and the last compleied'in 1824. Although he mad; few changes tdthe composition of the orchestra itself. addina. when occasion demanded. one or Go instruments more normally foundln the opera-house, he expanded vastlv the traditional form. developed in the time of Havdn and Mozart. reflecting the personal and .plitical strugglesof a period of immense change and turbulence. To his contemwraries he seemed an inimitable oriainal, but to a number of his suocessors'he seemed to have expanded the symphony to an intimidating extent. The inital inspiration for Beethoven's third symphony seems to have come from the French envoy, Count Bernadotte, who had been sent to Vienna in 1798, taking with him in his entourage the virtuoso violinist and composer Rodolphe Kreutzer, to whom Beethoven was later to dedicate his most famous violin sonata. Bernadotte spent some time in Beethoven's company and seems to have given him the notion of composing a heroic symphony in honour of General Bonaparte. The French had. bv force of arms, established a number of republics and had compelled hitria to unfavourable peace terms at the treatvof Camm Formio. As First Consul it seemed that Napoleon embodied the vikues of the republic of classical Rome, an ideal thai had a strong attraction for Beethoven.
    [Show full text]
  • About the Exhibition Tenorissimo! Plácido Domingo in Vienna
    Tenorissimo! Plácido Domingo in Vienna May 17th, 2017 - January 8th, 2018 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 About the exhibition An unmistakable dark timbre, highly dramatic expressiveness, an impressive, vast repertoire – all this enraptures the fans of the Spanish crowd-pleaser with waves of enthusiasm. The Theatermuseum celebrates Plácido Domingo on the anniversary of his stage debut: He has been singing at the Vienna State Opera for 50 years. When the Tenor, then still considered as insider tip, made his debut at the State Opera in the title role of Verdi‘s Don Carlo, not only he took stage and cast in storm, but also the hearts of the Viennese audience – a true love relationship, unbroken till today. This performance contributed to an unparalleled career, taking him to the world‘s leading opera houses. Vienna has always been a very special “home port“ for the opera star. Here he performed 30 different roles in 300 shows and was awarded the title Austrian Kammersänger. The exhibition at the Theatermuseum documents the most important appearances of the “Tenorissimo“ in Vienna with original costumes and props, photographs and memorabilia, video and audio samples. The presentation portrays him also as baritone, the role fach on which he concentrated almost exclusively in the past 10 years, and refers to his activities as conductor, taking him regularly to the orchestra pit of the Vienna State Opera since the end of the 1970s. Without hesitation Plácido Domingo can be described as one of the most versatile, curious and longest serving representative of his musical genre.
    [Show full text]
  • Carmen: the Complete Opera Free
    FREE CARMEN: THE COMPLETE OPERA PDF Georges Bizet,Clinical Professor at the College of Medicine William Berger MD,David Foil | 144 pages | 15 Dec 2005 | Black Dog & Leventhal Publishers Inc | 9781579125080 | English | New York, United States Complete Opera (Carmen) by G. Bizet - free download on MusicaNeo Sheet music file Free. Sheet music file 4. Sheet music file 1. Sheet music file Sheet music file including a license for an unlimited number of performances, limited to one year. Read license 1. Sheet music file 7. Upload Sheet Music. Publish Sheet Music. En De Ru Pt. Georges Bizet. Piano score. Look inside. Sheet music file Free Uploader Library. PDF, Arrangement for piano solo of the opera "Carmen" written by Bizet. If you have any question don't hesitate to contact us at olcbarcelonamusic gmail. Act I. Act II. Act III. Act IV. PDF, 8. Act II No. Act III No. PDF, 9. Act IV No. PDF, 5. Act I, Piano-vocal score. Act II, Piano-vocal score. Act III, Piano-vocal score. Piano-vocal score. Act IV, Piano-vocal score. Overture and Act I. PDF, 2. Overture, for sextet, Op. PDF, 1. Overture, for piano four hands. Overture, for piano. Entr'acte to Act IV, for string quartet. Orchestral harp part. Orchestral Harp. Orchestral cello part. PDF, 4. Orchestral part of Celli. Orchestral contrabasses part. Orchestral part of Contrabasses. Orchestral violin I part. Orchestral Violin I. Orchestral violin II part. Orchestral parts of Violini Carmen: The Complete Opera. Orchestral viola part. Carmen: The Complete Opera part of Viola. Orchestral clarinet I part.
    [Show full text]
  • Marie Collier: a Life
    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
    [Show full text]
  • Zwischen Strengem Reglement Und Freier Entfaltung Die Ersten Kapellmeister Der Kurbrandenburgischen Hofkapelle in Der Zeit Vor Dem Dreißigjährigen Krieg
    Kulturgeschichte Preuûens - Colloquien 3 (2016) Detlef Giese Zwischen strengem Reglement und freier Entfaltung Die ersten Kapellmeister der kurbrandenburgischen Hofkapelle in der Zeit vor dem Dreiûigjährigen Krieg Abstract Dass es vornehmlich die Kapellmeister sind, die einem Klangkörper Gesicht und Stimme geben, gilt für die Gegenwart gleichermaûen wie für die Geschichte. Der jeweilige Stelleninhaber ist einerseits eingebunden in seine vertraglichen Verpflichtungen, besitzt andererseits aber auch gewisse Freiheiten, im Rahmen bestimmter Möglichkeiten seinen Tätigkeitsbereich für sich selbst zu definieren. Die Erwartungshaltungen der wechselnden Dienstherren wandeln sich ebenso wie das politisch-gesellschaftliche, institutionelle und allgemein kulturelle Umfeld, in der die administrative und künstlerische Arbeit des Kapellmeisters angesiedelt ist. Die Wirkung und Ausstrahlungskraft, welche die Protagonisten hierbei entfalten, sind wichtige Gradmesser für die Bedeutung sowohl der Person als auch der Institution im regionalen wie überregionalen Maûstab. Für die Frühzeit der kurbrandenburgischen Hofkapelle sind zumindest die Namen einiger Kapellmeister überliefert, die als empirische Individualitäten fassbar werden. Dem ersten namentlich bekannte Amtsträger Johann Wesalius, der bereits in den 1570er Jahren an der Spitze des Ensembles stand, kommt in diesem Zusammenhang Aufmerksamkeit und Interesse zu, desgleichen Musikern wie Johannes Eccard und Nikolaus Zangius, die in den ersten beiden Jahrzehnten des 17. Jahrhunderts zu den respektablen, im Falle von Eccard sogar zu den prominenten, bis heute immer noch wertgeschätzten deutschen Komponisten ihrer Zeit zählten. Obwohl sie an jeweilige Rahmenbedingungen materieller wie personeller Art gebunden waren, besaûen sie doch ausreichend Räume zur eigenen Entfaltung, um sich künstlerisch zu profilieren. Auf der anderen Seite steht eine strenge Reglementierungen der Aufgaben und Aktivitäten von Seiten der Regenten, die nicht selten einengend wirkten, zumal die Ressourcen über den betrachteten Zeitraum von 1570 bis ca.
    [Show full text]
  • The Blake Collection in Memory of Nancy M
    The Blake Collection In Memory of Nancy M. Blake BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma.
    [Show full text]
  • A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
    University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me.
    [Show full text]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [Show full text]