“From Disaster to Triumph”
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1 the Roots of Birtwistle's Theatrical Expression
Cambridge University Press 978-0-521-89534-7 - Harrison Birtwistle’s Operas and Music Theatre David Beard Excerpt More information 1 The roots of Birtwistle’s theatrical expression: from Pantomime to Down by the Greenwood Side With six major operas, around eight music dramas, and a body of incidental music to his name, Harrison Birtwistle has made a significant contribution to contemporary opera and music theatre during a period that spans more than forty years. This study is concerned not only to reflect the importance of these stage works by examining them in some detail but also to convey their varied musical and intellectual worlds. Previous studies have rightly focused on Birtwistle’s perennial concerns, such as myth, ritual, cyclical journeys, varied repetition, verse–refrain structures, instrumental role-play, layers and lines.1 These characteristics highlight consistency throughout Birtwistle’s oeuvre and are a mark of his formalist stance. By contrast, this book is motivated by a belief that the stage works – in which instrumental and physical drama, song and narrative are combined – demand interpre- tation from multiple, inter-disciplinary perspectives. While not denying obvious or important relations between works, what follows is rather more focused on differences: Birtwistle’s choice of contrasting narrative subjects, his collaborations with nine librettists, his varied pre-compositional ideas and working methods, his experience with different directors, producers and others, all distinguish one stage work from another. A recurring theme is therefore a consideration of ways in which Birtwistle’s initial concepts are informed, altered or conveyed differently in each case. Moreover, as ideas evolve, from the composer’s musical sketches to the final production, mul- tiple meanings accrue that are particular to each drama. -
Julio-Agosto 2004
AÑO XIX Nº 188 Julio-Agosto 2004 6 € 2 OPINIÓN Luigi Dallapiccola, cárceles e islas CON NOMBRE Stefano Russomanno 112 PROPIO Petrassi: la poética artesana como tradición y vanguardia 6 Carlo Maria Giulini Tomás Marco 116 Roberto Andrade Dallapiccola y Petrassi en CD 10 AGENDA Juan Manuel Viana 120 12 ACTUALIDAD ENCUENTROS NACIONAL José van Dam Rafael Banús Irusta 126 38 ACTUALIDAD REPORTAJE INTERNACIONAL Tras las huellas de Antonín Dvorák 52 ENTREVISTA Rafael Banús Irusta 130 Rolando Villazón EDUCACIÓN Bruno Serrou Pedro Sarmiento 134 56 Discos del mes EL CANTAR DE SCHERZO DISCOS LOS CANTARES 57 Sumario Arturo Reverter 136 DOSIER LIBROS 137 105 Dallapiccola Petrassi JAZZ 138 cien años LA GUÍA 140 106 Un siglo de música en Italia Francisco Ramos CONTRAPUNTO Norman Lebrecht 144 Colaboran en este número: Teresa Adrán, Javier Alfaya, Daniel Álvarez Vázquez, Julio Andrade Malde, Íñigo Arbiza, Rafael Banús Irusta, Alfredo Brotons Muñoz, Domingo del Campo Castel, José Antonio Cantón, Paulino Capdepón, Carmelo Di Gennaro, Fernando Fraga, Joaquín García, Manuel García Franco, José Antonio García y García, Mario Gerteis, José Guerrero Martín, Leopoldo Hontañón, Bernd Hoppe, Paul Korenhof, Norman Lebrecht, Luciana Leiderfarb, Juan Antonio Llorente, Fiona Maddocks, Nadir Madriles, Tomás Marco, Santiago Martín Bermúdez, Joaquín Martín de Sagarmínaga, Enrique Martínez Miura, Blas Matamoro, Erna Metdepenninghen, Antonio Muñoz Molina, Miguel Ángel Nepomuceno, Josep Pascual, Enrique Pérez Adrián, Javier Pérez Senz, Pablo Queipo de Llano Ocaña, Francisco Ramos, Arturo Reverter, Justo Romero, Stefano Russomanno, Ignacio Sánchez Quirós, Pablo Sanz, Pedro Sarmiento, Bruno Serrou, Franco Soda, José Luis Téllez, Juan Manuel Viana, Claire Vaquero Williams, Asier Vallejo Ugarte, Pablo J. -
Sally Matthews Is Magnificent
` DVORAK Rusalka, Glyndebourne Festival, Robin Ticciati. DVD Opus Arte Sally Matthews is magnificent. During the Act II court ball her moral and social confusion is palpable. And her sorrowful return to the lake in the last act to be reviled by her water sprite sisters would melt the winter ice. Christopher Cook, BBC Music Magazine, November 2020 Sally Matthews’ Rusalka is sung with a smoky soprano that has surprising heft given its delicacy, and the Prince is Evan LeRoy Johnson, who combines an ardent tenor with good looks. They have great chemistry between them and the whole cast is excellent. Opera Now, November-December 2020 SCHUMANN Paradies und die Peri, Cincinnati Symphony Orchestra, Paolo Bortolameolli Matthews is noted for her interpretation of the demanding role of the Peri and also appears on one of its few recordings, with Rattle conducting. The soprano was richly communicative in the taxing vocal lines, which called for frequent leaps and a culminating high C … Her most rewarding moments occurred in Part III, particularly in “Verstossen, verschlossen” (“Expelled again”), as she fervently Sally Matthews vowed to go to the depths of the earth, an operatic tour-de-force. Janelle Gelfand, Cincinnati Business Courier, December 2019 Soprano BARBER Two Scenes from Anthony & Cleopatra, Chicago Symphony Orchestra, Juanjo Mena This critic had heard a fine performance of this music by Matthews and Mena at the BBC Proms in London in 2018, but their performance here on Thursday was even finer. Looking suitably regal in a glittery gold form-fitting gown, the British soprano put her full, vibrant, richly contoured voice fully at the service of text and music. -
Phd Commentary Final
PORTFOLIO OF COMPOSITIONS Towards a New Aesthetic in Contemporary Instrumental Ensemble, Vocal and Chamber Opera Composition A thesis submitted for the degree of Doctor of Philosophy by Shirley J. Thompson School of Arts, Brunel University September 2011 Shirley J. Thompson Submission for Doctor of Philosophy School of Arts Brunel University 1 ABSTRACT This submission for the degree of Doctor of Philosophy focuses on works for large instrumental ensemble in conjunction with the voice. Instrumental ensemble and vocal mediums such as the orchestral art song, the song cycle and the opera in one act, provide platforms to explore the expressiveness of the lyrical dramatic voice and the dialectic tension between composing for the solo voice with a range of instrumental ensemble forces. The portfolio of compositions includes the orchestral song, The Woman Who Refused to Dance; the orchestral song trilogy, Spirit Songs; and the opera in one act, Queen Nanny of the Maroons. Issues of composition technique, vocal expression and operatic narrative are examined and in addition the three named works explore notions of post-colonial heroic representation of subjects that might not usually attract ideological recognition in Western European art music contexts. Methods for developing inclusive, post-modern musical language for the mixed instrumental and vocal ensemble are explored; including the employment of spoken word expression and the integration of popular music idioms within contemporary Western European art music contexts. In the writing of lyrics for the songs and libretto for the opera, increased responsibility is assumed in the completion of vocal works in addition to musical consideration to find the effects on the works when the roles of composer and writer are combined. -
Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
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AN EXAMINATION OF WORKS FOR SOPRANO: “LASCIA CH’IO PIANGA” FROM RINALDO, BY G.F. HANDEL; NUR WER DIE SEHNSUCHT KENNT, HEISS’ MICH NICHT REDEN, SO LASST MICH SCHEINEN, BY FRANZ SCHUBERT; AUF DEM STROM, BY FRANZ SCHUBERT; SI MES VERS AVAIENT DES AILES, L’ÉNAMOURÉE, A CHLORIS, BY REYNALDO HAHN; “ADIEU, NOTRE PETITE TABLE” FROM MANON, BY JULES MASSENET; HE’S GONE AWAY, THE NIGHTINGALE, BLACK IS THE COLOR OF MY TRUE LOVE’S HAIR, ADAPTED AND ARRANGED BY CLIFFORD SHAW; “IN QUELLE TRINE MORBIDE” FROM MANON LESCAUT, BY GIACOMO PUCCINI by ELIZABETH ANN RODINA B.M., KANSAS STATE UNIVERSITY, 2006 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2008 Approved by: Major Professor Dr. Jennifer Edwards Copyright ELIZABETH ANN RODINA 2008 Abstract This report consists of extended program notes and translations for programmed songs and arias presented in recital by Elizabeth Ann Rodina on April 22, 2008 at 7:30 p.m. in All Faith’s Chapel on the Kansas State University campus. Included on the recital were works by George Frideric Handel, Franz Schubert, Reynaldo Hahn, Jules Massenet, Clifford Shaw, and Giacomo Puccini. The program notes include biographical information about the composers and a textual and musical analysis of their works. Table of Contents List of Figures ................................................................................................................................ vi List of Tables .............................................................................................................................. -
Principal Partner 2 an ORCHESTRA LIKE NO OTHER Meet Southbank Sinfonia: 33 Outstanding Young Players Poised to Make a Significant Impact on the Music Profession
Principal partner 2 AN ORCHESTRA LIKE NO OTHER Meet Southbank Sinfonia: 33 outstanding young players poised to make a significant impact on the music profession. Every year we welcome an entirely new cohort of exceptional talents from all over the world and are fascinated to hear and see what they will achieve together. Let them guide you through a vast array of repertoire and invigorating collaborations with artists such as Antonio Pappano, Vladimir Ashkenazy and Guy Barker as well as venerable organisations like the Royal Opera House and Academy of St Martin in the Fields. Whatever events you can attend, you are sure to experience the immense energy and freshness the players bring to every performance. They make a blazing case for why orchestras still matter today, investing new life in a noble tradition and reminding us all what can be accomplished when dedicated individuals put their hearts and minds together. Join us on their remarkable journey, and be enlivened and inspired. Simon Over Music Director and Principal Conductor For the latest concert listings and to book tickets online, visit us at southbanksinfonia.co.uk All information in this Concert Diary was correct at the time of going to press, but Southbank Sinfonia reserves the right to vary programmes if necessary. 3 MEET THE PLAYERS Alina Hiltunen Karla Norton Anaïs Ponty Duncan Anderson Violin Violin Violin Viola Yena Choi Tamara Elias Rachel Gorman Kaya Kuwabara Cara Laskaris Colm O’Reilly Timothy Rathbone Violin Violin Violin Violin Violin Violin Violin Martha Lloyd Helen -
Newsletter • Bulletin
NATIONAL CAPITAL OPERA SOCIETY • SOCIETE D'OPERA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2000 L’Été A WINTER OPERA BREAK IN NEW YORK by Shelagh Williams The Sunday afternoon programme at Alice Tully Having seen their ads and talked to Helen Glover, their Hall was a remarkable collaboration of poetry and words new Ottawa representative, we were eager participants and music combining the poetry of Emily Dickinson in the February “Musical Treasures of New York” ar- recited by Julie Harris and seventeen songs by ten dif- ranged by Pro Musica Tours. ferent composers, sung by Renee Fleming. A lecture We left Ottawa early Saturday morning in our bright preceded the concert and it was followed by having most pink (and easily spotted!) 417 Line Bus and had a safe of the composers, including Andre Previn, join the per- and swift trip to the Belvedere Hotel on 48th St. Greeted formers on stage for the applause. An unusual and en- by Larry Edelson, owner/director and tour leader, we joyable afternoon. met our fellow opera-lovers (six from Ottawa, one from Monday evening was the Met’s block-buster pre- Toronto, five Americans and three ladies from Japan) at miere production of Lehar’s The Merry Widow, with a welcoming wine and cheese party. Frederica von Stade and Placido Domingo, under Sir Saturday evening the opera was Offenbach’s Tales Andrew Davis, in a new English translation. The oper- of Hoffmann. This was a lavish (though not new) pro- etta was, understandably, sold out, and so the only tick- duction with sumptuous costumes, sets descending to ets available were seats in the Family Circle (at the very reappear later, and magical special effects. -
Margaret Catchpole: Two Worlds Apart
Stephen DODGSON Margaret Catchpole: Two Worlds Apart (Chamber opera in four acts) Howden • Wallace • Morris • Ollerenshaw Edgar-Wilson • Brook • Moore • Willcock • Sporsén Perpetuo • Julian Perkins Stephen Act I: By the Banks of the Orwell Act II: The Cobbold Household 1 [Introduction] 2:27 Scene 1: The drawing room at Mrs Cobbold’s house DO(1D924G–20S13O) N ^ 2Scene 1: Harvest time at Priory Farm & You are young (Dr Stebbing) 4:25 3 What an almighty fuss (Luff, Laud) 1:35 Ah! Dr Stebbing and Mr Barry Margaret Catchpole: Two Worlds Apart 4 For so many years (Laud, Luff) 2:09 (Mrs Cobbold, Barry, Margaret) 6:54 Chamber opera in four acts (1979) 5 Oh harvest moon (Margaret, Laud) 5:26 * Under that far and shining sky Interlude to Scene 2 1:28 Libretto by Ronald Fletcher (1921–1992), 6 (Laud, Margaret) 1:35 based on the novel by Richard Cobbold (1797–1877) The harvest is ended Scene 2: Porch – Kitchen/parlour – First performance: 8–10 June 1979 at The Old School, Hadleigh, Suffolk, UK 7 (Denton, Margaret, Laud, Labourers) 2:19 (Drawing room Oh, my goodness gracious – look! I don’t care what you think Margaret Catchpole . Kate Howden, Mezzo-soprano 8 (Mrs Denton, Lucy, Margaret, Denton) 2:23 ) (Alice, Margaret) 2:26 Will Laud . William Wallace, Tenor 9 Margaret? (Barry, Margaret) 3:39 Come in, Margaret John Luff . Nicholas Morris, Bass The ripen’d corn in sheaves is born ¡ (Mrs Cobbold, Margaret) 6:30 (Second Labourer, Denton, First Labourer, John Barry . Alistair Ollerenshaw, Baritone Come then, Alice (Margaret, Alice, Laud) 8:46 0 Mrs Denton, Lucy, Barry) 5:10 ™ Crusoe . -
The-Corridor-The-Cure-Programma
thE Corridor & thE curE HARRISON BIRTWISTLE DAVID HARSENT LONDON SINFONIETTA INHOUD CONTENT INFO 02 CREDITS 03 HARRISON BIRTWISTLE, MEDEA EN IK 05 HARRISON BIRTWISTLE, MEDEA AND ME 10 OVER DE ARTIESTEN 14 ABOUT THE ARTISTS 18 BIOGRAFIEËN 16 BIOGRAPHIES 20 HOLLAND FESTIVAL 2016 24 WORD VRIEND BECOME A FRIEND 26 COLOFON COLOPHON 28 1 INFO DO 9.6, VR 10.6 THU 9.6, FRI 10.6 aanvang starting time 20:30 8.30 pm locatie venue Muziekgebouw aan ’t IJ duur running time 2 uur 5 minuten, inclusief een pauze 2 hours 5 minutes, including one interval taal language Engels met Nederlandse boventiteling English with Dutch surtitles inleiding introduction door by Ruth Mackenzie (9.6), Michel Khalifa (10.6) 19:45 7.45 pm context za 11.6, 14:00 Sat 11.6, 2 pm Stadsschouwburg Amsterdam Workshop Spielbar: speel eigentijdse muziek play contemporary music 2 Tim Gill, cello CREDITS Helen Tunstall, harp muziek music orkestleider orchestra manager Harrison Birtwistle Hal Hutchison tekst text productieleiding production manager David Harsent David Pritchard regie direction supervisie kostuums costume supervisor Martin Duncan Ilaria Martello toneelbeeld, kostuums set, costume supervisie garderobe wardrobe supervisor Alison Chitty Gemma Reeve licht light supervisie pruiken & make-up Paul Pyant wigs & make-up supervisor Elizabeth Arklie choreografie choreography Michael Popper voorstellingsleiding company stage manager regie-assistent assistant director Laura Thatcher Marc Callahan assistent voorstellingsleiding sopraan soprano deputy stage manager Elizabeth Atherton -
Turnage Anna Nicole
Boosey & Hawkes Music Publishers Limited June 2011 2011/2 Turnage Anna Nicole New from Included in this issue: boosey.com Birtwistle Mark-Anthony Turnage’s new opera enjoyed a sell-out premiere run at The Royal Opera, New violin concerto travels followed by BBC television and radio broadcasts and a forthcoming DVD release. to BBC Proms ‘gentleman’s club’ in Houston... The more reflective passages often take the surprising form of beguiling, varied waltzes. Mr. Turnage and Mr. Thomas have come up with a slew of operatic characters that singers are going to relish, as this cast did. The London audience ate it up. But so did I, because in the end this is a musically rich, Online Scores launched audacious and inexplicably poignant work. The We are pleased to announce the launch of ovations were tumultuous.” New York Times Online Scores: a new boosey.com music “Turnage’s score is both immediately attractive service that allows you to view a digitised and dramatically purposeful, while Thomas’s pithy library of full scores from the B&H catalogue, text is integral to the success of an opera that hits free of charge. all the G-spots.” Sunday Times • over 400 scores currently available, with The Royal Opera’s production of Anna frequent additions Reich Nicole, with cast including Eva-Maria Kronos Quartet tours 9/11 wide range of leading composers from Westbroek, Gerald Finley and Alan Oke • Adams to Xenakis memorial to Europe conducted by Antonio Pappano, is released on DVD and Blu-ray by Opus Arte in August. first time access to many rare or • contemporary scores Turnage’s Blood on the Floor is choreographed by Wayne Macgregor in a available when you want, for study or • research new Francis Bacon-inspired ballet at the Opéra Bastille in Paris on 29 June. -
Contemporary Opera Newsletter
Leporello Contemporary Opera Newsletter Nr. 16 January 2013 World Première Performances In January 2013, four new operas will be performed. Richard Gill is Victorian Opera’s Founding Music Director in Melbourne. Since Einstein on the Beach in 1976, Philip Glass has composed about 20 operas. Doubt is Douglas J. Cuomo’s third opera, after Atomic Opera in 1991 and Arjuna’s Dilemma in 2006. Lin Wang has already composed an opera, Die Quelle for the 2010 Munich Biennale. Two of these operas are for children. Richard Gill : Sleeping Beauty Philip Glass : The Perfect American Magical Musical Fairy-Tale (60 minutes) Opera in two acts Libretto : after Charles Perrault. Libretto : Rudy Wurlitzer, after Peter Stephan Jungk’s Melbourne, Her Majesty’s Theatre (Victorian Opera) Der König von Amerika .. January 17, 2013 Madrid, Teatro Real January 22, 2013 with Suzanne Johnston, Jonathan Bode, Olivia Cranwell, James Payne, Dility Shepherd. with Christopher Purves, David Pittsinger, Donald Conducted by the composer. Kaasch, Janis Kelly, Marie McLaughlin. Directed by Derek Taylor. Conducted by Dennis Russell Davies. Directed by Phelim McDermott. The traditional story of the Princess Aurora cursed to sleep for a hundred years is transformed into a brand The opera imagines the final years of Walt Disney’s new pantomime with Ticketty-Boo the Fairy life, including mythical imaginings of Abraham Lincoln Godmother, Darcy the Jester and the Jollys. The opera and Andy Warhol. is suitable for children aged 6 and up. more on p. 2 DVD György Ligeti : Le Grand Macabre , ArtHaus Musik, 101 643. with Chris Merritt, Inès Moraleda, Ana Puche, Werner van Mechelen, Frode Olsen.