R a I R a D I O 5 C L a S S I C a Domenica 05. 03. 2017
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FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Martina Filjak – Biography
Martina Filjak – biography ”Martina Filjak revealed herself to be a premium class pianist'' Süddeutsche Zeitung “' Brilliant , sensitive and imaginative playing with resourcefulness of technique and naturalness of musicality ...a striking individuality ...a pianist to watch'' The New York Times One of the most exciting artists to emerge in recent years, Martina Filjak is garnering international praise for her poetic passion and technical mastery at the keyboard as well as for her charismatic personality and magnetic stage presence. Martina Filjak came to international attention by winning the Gold Medal, the 1st prize and the Beethoven prize at the Cleveland International Piano Competition in 2009, which brought her numerous engagements in the United States and internationally. Prior to that, she won 1st prizes at the Maria Canals Piano Competition (Barcelona) and the Viotti Piano Competition (Vercelli), and was a laureate at the Busoni Piano Competition. The 18-19 season kicked off with a performance of the 2nd Piano Concerto by Brahms alongside the Staatskapelle Halle at the Music Festival in Chorin, Germany and continues with a series of concerto performances that include collaborations with Orquesta Filarmónica de Bogotá and Diego Naser, the New West Symphony and Fawzi Haimor, the Norddeutsche Philharmonie Rostock and Nicholas Milton, the Colorado Springs Philharmonic and Josep Caballé Domenech, the Filarmònica de Málaga and Guillermo Garcia Calvo, the Capella Aquileia and Paul Goodwin, the Orquesta Filarmónica de Buenos Aires at the Teatro Colon and Manuel Hernández Silva, the Torino Philharmonic and the Zagreb Soloists, various chamber music performances as well as a recital tour in Latin America. Martina Filjak’s latest CD has been released in 2016 on Solo Musica (distributed by Sony Music) with works by Bach, Schumann and Scriabin. -
Träum Weiter Vom Orchester Der Zukunft
1 7. DEUTSCHER ORCHESTERTAG 3. UND 4. NOVEMBER 2019 Umweltforum Berlin Auferstehungskirche TRÄUM WEITER VOM ORCHESTER DER ZUKUNFT. Gefördert von: VORWORT WILLKOMMEN BEIM DOT 2019 Wir begrüßen Sie herzlich zum 17. Deutschen Orchestertag 2019! Im vergangenen Jahr haben wir den zweiten Tag unserer Konferenz zum ersten Mal für Orchestermusiker*innen geöffnet, damit der Orchestertag zu einem Forum für Aus tausch, Dialog und dem besseren gegenseitigen Verstehen für Management und Musiker wird. Das konstruktive und positive Feedback bestätigt uns darin, diesen Prozess in diesem Jahr fortzuführen. Neben praktischen Aspekten der Digitalisierung wie etwa Apps und Technik, die das Konzerterlebnis bereichern, und den Chancen von digitalem Noten material für den gesamten Theater oder Orchesterbetrieb legen wir einen deutlichen Schwerpunkt auf die Fragestellung: Was ist das Orchester der Zukunft? Was ist die Zukunft der Orchester? Gemeinsam mit dem Dirigenten Iván Fischer, Mitgliedern der Jungen Deutschen Philharmonie und anderen Impulsgebern möchten wir überlegen, wie ein Orchester aussehen könnte, das (noch) nicht den Zwängen des Arbeitsalltags und unseren verfestigten Vorstellungen von Orchesterleben unterworfen ist. Am Sonntag werden wir uns wie üblich der Fortbildung widmen. Mit unserem bewährten Premiumpartner der Mannheimer Versicherung haben wir für die gleich namige Akademie erneut ein Programm zusammengestellt, das wertvolle Impulse für den OrchestermanagementAlltag zu den Themen New Work und Agiles Management gibt. Wir freuen uns auf -
Boston Symphony Orchestra Concert Programs, Season 119, 1999-2000
O Z A W A Dl R ECTOR BOSTON ^SYMPHONY # E S T R A M 1 i! kff^^f y-^fflfe 1 ^WVIi 19 9 9-2000 SEASON 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 $1,200,000. its absolutefinest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext 410. LONGYEAR, a/ Lr/sner Jiili BROOKLINE pssf^te. "-J ' jjmgr^^8PL'ti n-^a >/:i LlEii'••*' ^^ ^^^v SSi^Ty^f-vg^^i^fe jSP&^j : HE^Sg^^ • .^^^^.*y£^\&?* .TV ,.->< VH) 11. |1»W mm DBD CORTLAND Hammond SOTHEBYSI PROPERTIES INC. RESIDENTIAL International Realty Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Nineteenth Season, 1999-2000 Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Vincent M. O'Reilly, Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Deborah B. Davis George Krupp Robert P. O'Block Diane M. Austin, Nina L. Doggett Ed Linde ex-ojficio ex-ojficio Nancy J. Fitzpatrick R. Willis Leith, Jr. Peter C. Read Gabriella Beranek Charles K. Gifford Mrs. August R. Meyer Hannah H. Schneider Jan Brett Avram J. Goldberg Richard P. Morse Thomas G. Sternberg James F. Cleary Thelma E. -
Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
1 1 BO S TON SYMI> H O N Y ORCHES T RA S E 1 1 O Z AWA * TWEN"r Y- F 1 F H ANNIVERSARY S E A S O N 1 1 8th Season • 1 998-99 Bring your Steinway: Mf/j 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 25 TH 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 F. 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-officio 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-officio Nader F. -
Martina Filjak, Piano 6
Martina Filjak, piano 6 DILLUNS, 29 D’agost DE 2016 – 21.00 h Estiu al Palau Sala de Concerts Martina Filjak, piano Programa I Franz Joseph Haydn (1732-1809) Variacions en Fa menor, Hob. XVII:6 12’ Sonata en Sol menor, Hob. XVI:44 11’ 1. Moderato 2. Allegretto Johann Sebastian Bach (1685-1750) – Franz Liszt (1811-1886) Preludi i fuga en La menor, S. 462/1 11’ II Franz Liszt Dues llegendes, S.175 19’ 1. Sant Francesc d’Assís: la prèdica als ocells 2. Sant Francesc de Paula caminant sobre les aigües Franz Liszt – Gaetano Donizetti (1797-1848) Reminiscències de ‘Lucia di Lammermoor’, S. 397 6’ Franz Liszt – Giuseppe Donizetti (1788-1856) Marxa per al sultà Abdul Medjid-Khan, S.403 bis 8’ Martina Filjak “Brillant, sensible i imaginativa, juga amb la inventiva de [...] la musicalitat [...]. Una individualitat sorprenent [...]. Una pianista per veure.” «The New York Times» És una de les artistes joves més prometedores dels últims anys. Acumula elogis arreu del món per la seva passió poètica i el control tècnic del seu instrument, a més de tenir una personalitat carismàtica i una presència magnètica a l’escenari. Després de graduar-se a l’Acadèmia de Música del Zagreb, va acabar els estudis de piano al Conservatori de Viena i, posteriorment, a la Hochschule für Musik de Hannover. A més, va assistir a classes de Màster a l’Acadèmia de Piano de Como. Des que va guanyar el primer premi del Concurs Internacional de Piano de Cleveland, Martina Filjak ha actuat als escenaris més prestigiosos, com el Carnegie Hall de Nova York, Konzerthaus de Berlín, Musikverein de Viena i Concertgebouw d’Amsterdam, a més del Palau de la Música Catalana, Sala Verdi i Auditori de Milà, Teatro San Carlo de Nàpols i a la Salle Gaveau de París. -
Vladimir Krpan 80 Plus 20.1.2018
VLADIMIR KRPAN 80 PLUS Učenici svojem Profesoru u povodu njegova 80. rođendana Martina Filjak, Katarina Krpan Srđan Filip Čaldarović, Maksim Mrvica Pedja Mužijević, Bruno Vlahek Vladimir Krpan glasovir Zagrebačka filharmonija Tonči Bilić, dirigent Subota, 20. siječnja 2018. u 19.30 sati Koncertna dvorana Vatroslava Lisinskog Wolfgang Amadeus Mozart 3 Uvertira operi Figarov pir, K. 492 Wolfgang Amadeus Mozart Koncert za dva glasovira i orkestar u Es-duru, K. 365 Allegro Andante Rondo: Allegro Martina Filjak, glasovir Pedja Mužijević, glasovir Francis Poulenc Koncert za dva glasovira i orkestar u d-molu, FP 61 Allegro ma non troppo Larghetto Finale: Allegro molto Bruno Vlahek, glasovir Srđan Filip Čaldarović, glasovir * * * Dmitrij Šostakovič Svečana uvertira u A-duru, op. 96 Antonín Dvořák – John Lenehan Koncert iz Novoga svijeta, za glasovir i orkestar Nikolaj Rimski-Korsakov – Sergej Rahmanjinov Bumbarov let iz 3. čina opere Priča o caru Saltanu, za glasovir Maksim Mrvica, glasovir Boris Papandopulo Pop-koncert, za dva glasovira i orkestar Nakladnik: Koncertna dvorana Vatroslava Lisinskog Za nakladnika: Dražen Siriščević, ravnatelj Katarina Krpan, glasovir Producentica programa: Martina Vukšić Vladimir Krpan, glasovir Urednica: Jelena Vuković Autorica teksta: Ana Vidić Lektorica: Rosanda Tometić Poslije koncerta s umjetnicima razgovara Gordana Krpan. Oblikovanje i grafička priprema: Daniel Ille Tisak: Intergrafika TTŽ d. o. o., Zagreb Naklada: 450 primjeraka Cijena: 20 kuna www.lisinski.hr VLADIMIR KRPAN 4 „Vladimir Krpan je dubinski pokrenutom snažnom i sveobuhvaćajućom 5 gestom otkrivao i s istraživačkim elanom uranjao u prostore duha otvorene prema naslijeđenim horizontima generacija svojih prethodnika koji su sudjelovali u europskom konceptu ideja glazbe i kulture od početka 20. stoljeća. Oživljavajući u svakom trenutku i trajno interpretirajući stratešku poziciju izvođača između djela, autora i publike, pridodao joj je snagom svog talenta simboličko značenje i sjaj te time produbio istovremeno svoju intimnu glazbenu, ali i javnu odgovornost. -
2010–2011 Season Sponsors
2010–2011 SEASON SPONSORS The City of Cerritos gratefully thanks our 2010–2011 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts. YOUR FAVORITE ENTERTAINERS, YOUR FAVORITE THEATER If your company would like to become a Cerritos Center for the Performing Arts sponsor, please contact the CCPA Administrative Offices at 562-916-8510. THE CERRITOS CENTER FOR THE PERFORMING ARTS (CCPA) thanks the following CCPA Associates who have contributed to the CCPA’s Endowment Fund. The Endowment Fund was established in 1994 under the visionary leadership of the Cerritos City Council to ensure that the CCPA would remain a welcoming, accessible, and affordable venue in which patrons can experience the joy of entertainment and cultural enrichment. For more information about the Endowment Fund or to make a contribution, please contact the CCPA Administrative Offices at (562) 916-8510. Benefactor Jill and Steve Edwards Ilana and Allen Brackett Erin Delliquadri $50,001-$100,000 Dr. Stuart L. Farber Paula Briggs Ester Delurgio José Iturbi Foundation William Goodwin Scott N. Brinkerhoff Rosemarie and Joseph Di Giulio Janet Gray Darrell Brooke Rosemarie diLorenzo Sandra and Bruce Dickinson Patron Rosemary Escalera Gutierrez Mary Brough Marianne and Bob Hughlett, Ed. D. Joyce and Russ Brown Amy and George Dominguez $20,001-$50,000 Robert M. Iritani Dr. and Mrs. Tony R. Brown Mrs. Abiatha Doss Bryan A. Stirrat & Associates Dr. HP Kan and Mrs. Della Kan Cheryl and Kerry Bryan Linda Dowell National Endowment for the Arts Jill and Rick Larson Florence P. Buchanan Robert Dressendorfer Eleanor and David St. -
ODE 1340-2 Booklet Print.Indd
CLARA ANDRADA ODE 1340-2 CLARA ANDRADA NIELSEN • IBERT • ARNOLD FLUTE CONCERTOS FRANKFURT RADIO SYMPHONY • JAIME MARTÍN 2 3 CARL NIELSEN (1865–1931) Flute Concerto (1926), FS 119 19:23 1 I Allegro moderato 11:46 2 II Allegretto un poco – Adagio ma non troppo – Allegretto – Poco adagio – Tempo di marcia 7:32 JACQUES IBERT (1890–1962) Publisher: Edition Wilhelm Hansen (Nielsen); Alphonse Leduc (Ibert); Novello (Arnold) Flute Concerto (1932–33) 20:26 3 I Allegro 4:57 4 II Andante 7:18 Recordings: hr-Sendesaal, Hessischer Rundfunk, Frankfurt am Main, Germany, 5 III Allegro scherzando 8:03 1–3 February, 2018 (Nielsen & Ibert); 7 and 8 May, 2015 (Arnold) Executive Producer: Reijo Kiilunen Recording Producer: Christoph Claßen (Nielsen & Ibert); Udo Wüstendörfer (Arnold) MALCOLM ARNOLD (1921–2006) Recording Engineer: Philip Knop (Nielsen & Ibert); Andreas Heynold (Arnold) Flute Concerto No. 1, Op. 45 (1954) 12:01 for flute and string orchestra ℗ & © 2020 Ondine Oy, Helsinki 6 I Allegro 4:35 7 II Andante 5:26 Booklet Editor: Joel Valkila 8 III Con fuoco 1:59 Cover & photos: Gisela Schenker CLARA ANDRADA, flute & leader (6–8) Frankfurt Radio Symphony JAIME MARTÍN, conductor (1–5) 2 11 lute concertos written by Vivaldi and Mozart in the eighteenth century have Clara Andrada and Jaime Martín Fmaintained a place in the repertoire, yet some of the most popular examples in the genre date from within the last hundred years. Brahms revealed the flute’s expressive potential in a symphonic context in the poignant twelfth variation of the passacaglia Finale of his Fourth Symphony (1885). Yet the widespread resurgence of interest in the flute as a solo instrument may be directly attributable to the opening flute theme of Claude Debussy’s Prélude à l’après-midi d’un faune of 1894, the flexibility and eloquence of this imperishable solo line suggesting to receptive fellow composers the potential of the instrument to be the main protagonist in a fully-fledged concertante work. -
埃马努埃勒• 克里文| Emmanuel Krivine
埃马努埃勒 • 克里文 | Emmanuel Krivine 指挥 | Conductor 拥有俄国和波兰血统的埃马努埃勒 · 克里文,自幼学习小提琴,并在 16 岁的时候获得了法国艺术学校 首奖,以及比利时“伊丽莎白女王音乐学院”的奖学金。在跟从亨里克 · 谢林和耶胡迪 · 梅纽因学习期 间,克里文获得了多个音乐奖项。1965 年与师卡尔 · 伯姆的一次会谈使克里文开始偏重于指挥专业。 在 1976-1983 年间克里文做为“终身客座指挥”效力于法国国家广播电台新爱乐管弦乐团,1987-2000 年间担任里昂歌剧院管弦乐团的音乐总监。2001 年,克里文做为客座指挥与卢森堡爱乐乐团合作,广 受好评,从 2006/2007 年音乐季开始接掌卢森堡爱乐乐团担任音乐总监一职。 克里文曾在许多世界首屈一指的乐团中担任指挥,包括柏林爱乐乐团、荷兰皇家大会堂管弦乐团、伦 敦交响乐团、莱比锡布商大厦管弦乐团、苏黎世市政厅管弦乐团、都灵和捷克爱乐乐团。在北美,他 曾参加克利夫兰、宾夕法尼亚、波斯顿交响乐团、蒙特利尔交响乐团、多伦多交响乐团、洛杉矶交响 管弦乐的演出。在亚洲和澳大利亚,他也与悉尼、墨尔本交响乐团、日本广播协会交响乐团、日本读 卖交响乐团有过紧密合作。 克里文曾参与了爱乐乐团、班贝克交响乐团、瓦索维亚交响乐团、里昂歌剧院管弦乐团、卢森堡爱乐 乐团的唱片录制,指挥作品涵盖了施特劳斯、勋伯格、拉威尔、柏辽兹、丹蒂、罗帕茨、杜蒂耶等人 的曲目。近期他和卢森堡爱乐乐团录制了一系列德彪西的交响乐作品。 From Russian descent through his father and Polish through his mother, Emmanuel Krivine began his career as a violinist at a young age. Awarded the Premier Prix of the Paris Conservatoire at the age of 16, he was a scholar at the Chapelle Musicale de la Reine Elisabeth de Belgique, and studied with Henryk Szeryng and Yehudi Menuhin, winning many of the most prestigious awards. After a decisive meeting with Karl Böhm in 1965, he increasingly devoted himself to conducting, becoming a permanent Guest Conductor at the Nouvel Orchestre Philharmonique de Radio France between 1976 and 1983, and subsequently Musical Director of the Orchestre National de Lyon from 1987 until 2000. At the beginning of the 2006/07 season he accepted the post of Music Director of the Orchestre Philharmonique du Luxembourg, following acclaimed collaborations with the orchestra as a guest conductor since 2001. Emmanuel Krivine -
Belgian National Orchestra & Collegium Vocale Gent Olv. Hugh
muziek Belgian National Orchestra & Collegium Vocale Gent olv. Hugh Wolff za 10 nov 2018 / Grote podia / Blauwe zaal 20 uur / pauze ± 20.40 uur / einde ± 22.10 uur inleiding Arne Herman / 19.15 uur / Blauwe foyer internationaal symfonisch 2018-2019 Deutsches Symphonie-Orchester Berlin olv. Robin Ticciati zo 9 sep 2018 (Koningin Elisabethzaal) National Philharmonic of Russia olv. Vladimir Spivakov ma 29 okt 2018 (Blauwe zaal) Belgian National Orchestra & Collegium Vocale Gent olv. Hugh Wolff za 10 nov 2018 (Blauwe zaal) Swedish Radio Symphony Orchestra olv. Daniel Harding ma 12 nov 2018 (Koningin Elisabethzaal) Sydney Symphony Orchestra olv. David Robertson za 1 dec 2018 (Koningin Elisabethzaal) London Symphony Orchestra olv. Sir John Eliot Gardiner wo 30 jan 2019 (Koningin Elisabethzaal) Budapest Festival Orchestra & RIAS Kammerchor olv. Iván Fischer di 12 feb 2019 (Koningin Elisabethzaal) Wiener Philharmoniker olv. Adam Fischer di 19 feb 2019 (Koningin Elisabethzaal) Chamber Orchestra of Europe & Collegium Vocale Gent olv. David Afkham vr 15 mrt 2019 (Blauwe zaal) teksten programmaboekje Arne Herman coördinatie programmaboekje deSingel Belgian National Orchestra & Collegium Vocale Gent D/2018/5.497/104 Hugh Wolff muzikale leiding Sophie Karthäuser sopraan Thomas E. Bauer bariton Annelies Van Parys (°1975) A War Requiem (wereldcreatie) 35’ pauze Gustav Mahler (1860-1911) Symfonie nr 5 in cis 70’ Trauermarsch: In gemessenem Schritt. Streng. Wie ein Kondukt Stürmisch bewegt, mit größter Vehemenz Scherzo. Kräftig, nicht zu schnell Adagietto. Sehr langsam Rondo-Finale. Allegro Concert in het kader van de herdenking van het einde van de Eerste Wereldoorlog, georganiseerd met de steun van de Nationale Loterij en het Federaal organisatie- comité met betrekking tot de herdenking van de Eerste Wereldoorlog. -
Peabody-News-0305.Pdf
Serving the Baltimore / Washington Region March / April 2005 INSIDE Circulation: 28,000 6 Somerset Maugham in Life and in The Alien Corn Phyllis Bryn-Julson Page 4 sings her final Peabody celebrates Alan Kefauver and the Pierrot Lunaire 20th anniversary of the Recording Arts & Sciences program By Geoff Himes Page 33 Hajime Teri Murai reflects on Mahler’s tragic Sixth Page 14 Amit Peled performs cello works from Bach to Britten Page 8 Benjamin Pasternack features Piano Works by Nicholas Maw and ...and Raymond Coffer speaks on “Soap Opera Robert Sirota and Genius” in the Second Viennese School Page 12 2 Peabody News MARCH / APRIL 2005 MARCH / APRIL 2005 Peabody News 3 naud Prize (second over all prize) and the special Prize Nadia and Lili PEABODY Boulanger for the best interpretation of a work written between 1900 and Winners 1950. The award-winning newspaper of the Grammy Nominations for Baltimore/Washington Cultural Corridor Richard Crawley sings Peabody Artists Published by the Peabody Conservatory of Three Peabody alumni have been Cavaradossi with San Music, Baltimore. nominated for Grammys by the Francisco Opera National Acad- Richard Crawley (GPD, ‘96) recently emy of Record- found himself stepping in to sing Circulation:28,000 ing Arts and Cavaradossi with the San Francisco Sciences. They Opera Company opposite Carol Editor: are: violist Vaness as Tosca. Crawley, who is in the Young Artist Program with the Anne Garside Kim Kashkash- Angela Taylor ian, (BM ’73) in company, was covering the role when the lead fell ill. Richard, who keeps a the Yego Chamber Competition. She the category also won the Hankook Symphony Assistant Editor and Designer: “Best Instru- home base in Baltimore in Highland- Kim Kashkashian town, coached the role with Peabody Competition that same year.