DOCSLIB.ORG

World Premiere Recordings DISTANCE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
World Premiere Recordings DISTANCE MARK ABEL TIME and world premiere recordings DISTANCE DE 3550 1 DELOS DE 3550 MARK ABEL DELOS DE 3550 MARK ABEL MARK ABEL TIME AND DISTANCE works for voice and piano, plus organ* and percussion§ THE INVOCATION (text: Mark Abel) THOSE WHO LOVED MEDUSA§ (text: Kate Gale) IN THE REAR VIEW MIRROR, NOW* (text: Mark Abel) ◆ ◆ TIME AND DISTANCE TIME AND DISTANCE THE OCEAN OF FORGIVENESS Five Poems of Joanne Regenhardt THE BENEDICTION (text: Mark Abel) HILA PLITMANN soprano JANELLE DeSTEFANO mezzo-soprano TALI TADMOR ◆ CAROL ROSENBERGER piano piano BRUCE CARVER, percussion ◆ MARK ABEL, organ ORIGINAL ORIGINAL DIGITAL DIGITAL 1. THE INVOCATION (4:23) MARK ABEL JANELLE DeSTEFANO, mezzo-soprano CAROL ROSENBERGER, piano TIME and 2. THOSE WHO LOVED MEDUSA (7:53) HILA PLITMANN, soprano DISTANCE CAROL ROSENBERGER, piano BRUCE CARVER, percussion IN THE REAR VIEW MIRROR, NOW (19:26) 3. The Long Goodbye (6:36) 4. The World Clock (5:04) 5. The Nature of Friendship (7:40) HILA PLITMANN, soprano TALI TADMOR, piano MARK ABEL, organ THE OCEAN OF FORGIVENESS (19:04) Five Poems of Joanne Regenhardt 6. Desert Wind (4:34) 7. Sally’s Suicide (4:21) 8. In Love with the Sky (4:11) 9. Reunion (2:33) 10. Patience (3:25) JANELLE DeSTEFANO, mezzo-soprano TALI TADMOR, piano 11. THE BENEDICTION (6:18) HILA PLITMANN, soprano TALI TADMOR, piano DE 3550 Total playing time: 57:03 EAR, INTELLECT, EMOTION … AND PRESCIENCE t has been my privilege and pleasure mensions to the poet’s verbal and sym- to have written introductions or pro- bolic design. This ability applies equally Igram notes for the three previous Delos to the often-jarring societal observations albums of compositions by Mark Abel. expressed in Abel’s own texts, as well as These include five song cycles and a short those by modern-day poets like Kate Gale three-act opera. As I have experienced in The Palm Trees Are Restless, the power- each of his creations, I have found my- ful cycle paired on record with Home Is a self wondering whether there is any other Harbor. As sensitive listeners will discover, composer active today more profoundly Time and Distance, Abel’s fourth album for attuned to contemporary social and po- Delos, features repertoire that touches on litical realities—or able to examine and all these qualities, and more. illuminate them in music (and often in his own lyrics) of such searing intensity. The Let’s examine the four aspects of human ex- Dream Gallery (DE 3418), his stunning de- perience named in this introductory essay’s but album for Delos, explores such sub- title, and how Abel employs each to reach jects within the unique microcosm of what his listeners and achieve his artistic goals. I’ll call “California living.” Home Is a Harbor (DE 3495), his engaging first opera, is also EAR: The aural framework of music sur- firmly rooted in the cultural and sociopo- rounds and carries all the other currents litical milieus of our time. of meaning and effect found in any re- markable art song. What good is any I’ve also marveled at how effectively Abel other characteristic of a song if the music expresses extremes of emotion—from doesn’t engage and stimulate the ear? giddy elation to deepest desolation— It’s the essential vehicle of any song’s in- particularly as they pertain to his own tended content of in-depth thought and experience, as in his cycle The Dark-Eyed emotion. The heart of any good song is Chameleon, from Terrain of the Heart (DE its lyrics, but that “heart” would not exist 3438). That same album also bears wit- without the music that illuminates it and ness, in the Five Poems of Rainer Maria lays it bare. Rilke, to Abel’s skill in accomplishing the goal of every serious composer of art songs: to amplify and lend deeper di- Continued on Page 68 2 3 Hila Janelle Plitmann 4 DeStefano Hila Janelle Plitmann DeStefano 5 Continued from Page 24 impulses, Abel’s music establishes emo- tional connection—often on an intense, Abel—a true musical polymath—has drawn “gut” level. Emotion is the cornerstone on his lifelong exposure to a huge range of human nature and experience—and of genres in deriving his uniquely eupho- can therefore never be divorced from the nious stylistic fusion. As I’ve described it affairs of mankind. Dissect any human before, it combines the “in-your-face” issue or genre of worldly art, and you’ll impact of rock and the free-flowing, qua- find emotion at its heart. Abel never fails si-improvisational flow of jazz in an overall to bring it to bear in his creations—with context of classical complexity of the kind almost overwhelming “right between the that rewards repeated hearings. eyes” impact one moment, and inscruta- ble subtlety the next. There’s not a selec- INTELLECT: One of the most succinct and tion in this album that doesn’t touch the revealing descriptions of Abel’s art that heart or move the soul in some way. I’ve seen is the headline of a cover story published by the San Luis Obispo Tribune The lyricism pervading most of Abel’s in 2014: “Music to Make You Think.” With music has never been more tellingly dis- Time and Distance, that runs true as ever. played than in The Ocean of Forgiveness, Abel—who is not only a former performing his setting of five brief and deeply felt po- musician, but also a onetime foreign affairs ems by Joanne Regenhardt. That lyricism, journalist—is blessed with powers of ob- coupled with poignancy, is also strongly servation and experience that he uses to present even in works shot through with keenly record and interpret complex social despair, such as the first and last songs of trends, political affairs and the ever-elusive the cycle In the Rear View Mirror, Now. human condition. His heady insights and conclusions find their maximum expres- PRESCIENCE: Therein lies perhaps the sion in material for which he has crafted most striking aspect of this newest record- his own lyrics: songs and operatic episodes ing. Abel constantly picks up on strands of that often leave a perceptive listener star- society’s unresolved behavioral patterns— tled—even gobsmacked—at the wisdom be they in the public or private spheres. and truth they contain. He then traces them over time as they de- velop into full-blown phenomena—often EMOTION: Unlike many of today’s de- becoming crises that, once resolved (or tached and abstractly intellectual artistic at least defined), make for much-needed 6 progress as we lurch our way toward high- but it feels ever more relevant as 2018 er planes of civilization. unfolds. While first reminding us of Amer- ica’s natural beauty and material bounty Take, for example, Those Who Loved Me- “from sea to shining sea,” the text goes on dusa, a shattering setting of a poem by to depict in poetic imagery the seemingly Kate Gale, delivered to visceral effect by fathomless societal and political schisms Grammy-winning soprano Hila Plitmann. that wrack our fair land. Sexual abuse and harassment of wom- en—along with blatant misogyny and Abel may have written about ugliness discrimination—has been a pervasive here—about disagreement, despair and morality flaw since the dawn of mankind, even hate. But he rarely fails to balance fostering constant and untold criminal beauty against such ugliness, and in The behavior by testosterone- or power-driv- Benediction eloquently places his hopes en males of our species. Yet the victims of for the future in the “open hearts” of such crimes have only rarely dared speak emerging generations. of them, much less reveal the names of their perpetrators. Allow me to end on a personal note: My oldest grandson is just such an open This album’s production and release coin- heart, having turned eighteen not long cide roughly with the rise of the “Me Too” ago. He is aghast at the state of the world movement, whose “it’s about time” mes- he seems destined to inherit but has not sage is empowering women everywhere lost hope or purpose. He can hardly wait to finally come forward with their disturb- to start exercising his right to vote. He, ing stories and confront their violators. and others like him, carry our future in Lines in Medusa like “Carry this story for- their hands. ward. Rape is the fault of the victim” strike listeners on an elemental level—not only —Lindsay Koob as evil lies, but as artistic utterances from poet and composer alike that could hardly be more timely. The final piece, The Benediction, makes a similar impression. As Abel tells us in his booklet notes, he wrote the song in 2012; 7 COMPOSER’S NOTES ime and Distance offers some fresh perspectives on the challenge of Twriting art song relevant to the pres- ent era. Two compositions add organ and orchestral percussion to the customary voice-and-piano configuration, while the texts encompass impressive poetry by Kate Gale and Joanne Regenhardt, and three sets of my own lyrics. Soprano Hila Plitmann, mezzo-soprano Janelle DeSte- fano, and pianists Tali Tadmor and Carol Rosenberger interpret the album’s five works with great skill and insight. The Invocation, sung by DeStefano, is in effect an introduction to the rest of the program. Its theme is life’s ambiguities and the eventual realization: All we can be sure of is that many surprises are in store. The music and lyrics suggest, and muse upon, the seductions and potential dan- few years ago in The Palm Trees Are Rest- gers lurking along the road.
Load more

Recommended publications
  • OCT 2005NEW.Qxd
    AAGGMMAAZZIINNEE Official Publication of the American Guild of Musical Artists A Branch of the Associated Actors and Artistes of America • Affiliated with the AFL-CIO Summer 2015 Volume 69, Number 1 How Technology Affects our Careers Page 2 AGMAzine Summer 2015 It would be inappropriate to go to press without recognizing the victory for many of our members and all supporters of civil rights from the Supreme Court’s decision on Marriage Equality (Obergefell v Hodges) . AGMA Establishes a New System for Reporting Illegal Discrimination By Alan S. Gordon, National Executive Director AGMA has estab - retaliation. Unfortunately, it’s a valid fear. act; the nature of the abuse, harassment or lished a system However, reporting abuse or harassment to discrimination; the employment position of for members to con - your employer remains one of the ONLY two that person (composer, coach, etc.); their fidentially report truly effective ways of dealing with sexual work relationship to the person making the instances of any abuse or other illegal discrimination. report (unless it’s obvious from their posi - illegal discrimina - tion); whether or not there were witnesses to tion, including sex - The other possible remedy exists because dis - the situation, including their names or identi - ual abuse, harass - crimination is also a violation of AGMA’s fication by job titles; and any other informa - ment and conduct collective bargaining agreements and tion you think relevant to the report. that creates a hostile Standard Artist Agreements, and so it can also Although members can report abuse encoun - work environment. be pursued through the grievance and arbitra - tered at non-union companies, we have no tion provision of our contracts and decided by ability to influence behavior among non- A number of members, including participants an arbitrator.
    [Show full text]
  • PRESENTS Table of Contents
    PRESENTS Table of Contents Welcome................................................................................................................. 3 Staff and Board of Directors..........................................................................6 About Pittsburgh Festival Opera.................................................................7 Cornetti’s Candid Concert and After-Party | July 10................................8 Marianne: Unstaged | July 11, 18, and 25.................................................10 Pit Crew: Singer-Free Sundays | July 12, 19, and 26..............................13 Leitmotif: Walking through Wagner | July 16..........................................17 I, Too, Sing | July 17...........................................................................................18 Composer Spotlight: Mark Adamo | July 23.............................................20 Putting it Together: Online Young Artists Program | July 24..........21 2020 OYAP Faculty........................................................................................... 26 Rusalka: A Mermaid’s Tale | July 25............................................................27 Contributions, Gifts, and Institutional Support................................. 29 Welcome from the President We need 20-20 vision to view the events of 2020. Much of what we took for granted, including the highest ever level of our economy and the lowest ever level of unemployment, suggested a bright future for the performing arts. We at Pittsburgh Festival Opera were especially
    [Show full text]
  • Edition 2 | 2019-2020
    insidewhat’s Welcome From the Director | 3 Zhou Family Band | 21 The Historian’s Corner | 4 Ying Quartet | 23 Leonard Slatkin Conducts Jeff Beal | 6 Voces8 | 26 Kat Edmonson | 15 Avi Avital & Bridget Kibbey | 32 Ying Quartet | 18 Schumann Quartet | 38 CONTACT US: Location: Eastman School of Music—ESM 101 EASTMAN THEATRE BOX OFFICE Phone: (585) 274-1109 Mailing Address E-mail: [email protected] Eastman School of Music Concert Office 26 Gibbs Street Mike Stefiuk, Director of Concert Operations Rochester, NY 14604 Julia Ng, Assistant Director of Concert Operations Eastman Theatre Box Office Greg Machin, Ticketing and Box Office Manager 433 East Main Street Joseph Broadus, Box Office Supervisor Rochester, NY 14604 Ron Stackman, Director of Stage Operations, Eastman Theatre Phone Jules Corcimiglia, Assistant Director of Stage Eastman Theatre Box Office: (585) 274-3000 Operations (Kodak Hall) Lost & Found: (585) 274-3000 Daniel Mason, Assistant Director of Stage Eastman Concert Office: (585) 274-1109 Operations (Kilbourn Hall) Hall Rentals: (585) 274-1109 Michael Dziakonas, Assistant Director of Stage Operations (Hatch Recital Hall) ADVERTISING This program is published in association with Onstage Publications, Onstage Publications 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the 937-424-0529 | 866-503-1966 publisher. JBI Publishing is a division of Onstage Publications, Inc. e-mail: [email protected] Contents © 2019. All rights reserved. Printed in the U.S.A. www.onstagepublications.com EASTMAN PERFORMANCE SERIES 1 2 EASTMAN PERFORMANCE SERIES experience excellence! o you remember the first time you experienced a live Dperformance? For many of us, it was as children and that memory has stayed with us all these years.
    [Show full text]
  • Turandot Giacomo Puccini (1858-1924) Libretto by Giuseppe Adami and Renato Simoni
    FEB. 18, 20, 23 classical series SEGERSTROM CENTER FOR THE ARTS RENÉE AND HENRY SEGERSTROM CONCERT HALL presents 2015-16 HAL & JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES Performance begins at 8 p.m.; Preview talk with Alan Chapman begins at 7 p.m. CARL ST.CLAIR • CONDUCTOR | ERIC EINHORN • STAGE DIRECTOR PACIFIC CHORALE — JOHN ALEXANDER • ARTISTIC DIRECTOR | ROBERT ISTAD • ASST. CONDUCTOR / CHORUSMASTER SOUTHERN CALIFORNIA CHILDREN’S CHORUS — LORI LOFTUS • FOUNDING DIRECTOR Turandot Giacomo Puccini (1858-1924) Libretto by Giuseppe Adami and Renato Simoni Performed in three acts, with two intermissions Cast Princess Turandot Tamara Mancini, soprano Calàf Marc Heller, tenor Liù Elizabeth Caballero, soprano Timur Hao Jiang Tian, bass Ping Dan Kempson, baritone Pang Jonathan Blalock, tenor Pong David Blalock, tenor Emperor Altoum Ronald Naldi, tenor The Mandarin Zachary Altman, baritone The Executioner Melody Yao, dancer Supers Jestoni Dagdag, Issac Lai Technical Team Paul DiPierro, digital media designer Kathy Pryzgoda, lighting designer Kathryn Wilson, costume designer Ora Jewell-Busche, wig and make-up coordinator Cheer Pan, choreographer William Pruett, props coordinator The Tuesday, Feb. 23, concert is generously sponsored by Opera FOCUS. PACIFIC SYMPHONY PROUDLY RECOGNIZES ITS OFFICIAL PARTNERS Official Hotel Official Television Station Official Classical Radio Station The Saturday, Feb. 20, performance is being recorded for broadcast on Sunday, March 20, at 7 p.m. on Classical KUSC. Pacific Symphony • 7 NOTES by michael clive But in the title role of Puccini’s last opera, we encounter still another kind of woman. We may admire the mythic Chinese princess Turandot; we may, in fact, be awed by her; but we do not love her.
    [Show full text]
  • La Donna Del Lago
    GIOACHINO ROSSINI la donna del lago conductor Opera in two acts Michele Mariotti Libretto by Andrea Leone Tottola, production Paul Curran based on the poem The Lady of the Lake by Sir Walter Scott set and costume designer Kevin Knight Saturday, March 14, 2015 lighting designer 1:00–4:10 PM Duane Schuler projection designer New Production Driscoll Otto Last time this season The production of La Donna del Lago was made possible by a generous gift from the Betsy and Edward Cohen/Areté Foundation Fund for New Productions and Revivals, and Dominique and Frédéric Laffont Additional funding was received from Mr. and Mrs. William R. Miller, and general manager Peter Gelb William and Helen Little music director James Levine Co-production of the Metropolitan Opera and principal conductor Fabio Luisi the Santa Fe Opera The 8th Metropolitan Opera performance of GIOACHINO ROSSINI’S This performance la donna is being broadcast live over The del lago Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Michele Mariotti America’s luxury in order of vocal appearance homebuilder®, with generous long-term elena, daughter of dugl as d’angus support from Joyce DiDonato The Annenberg giacomo v, king james of scotl and, disguised as uberto Foundation, The Juan Diego Flórez Neubauer Family Foundation, the malcolm groeme, in love with elena Vincent A. Stabile Daniela Barcellona Endowment for ser ano, servant to dugl as Broadcast Media, and contributions Eduardo Valdes from listeners dugl as d’angus, scot tish nobleman, worldwide. former tutor of king james Oren Gradus There is no Toll Brothers– rodrigo di dhu, chief of the highlanders Metropolitan Opera John Osborn* Quiz in List Hall today.
    [Show full text]
  • The Santa Fe Opera & 95.5 Khfm Classical Public Radio
    For Immediate Release THE SANTA FE OPERA & 95.5 KHFM CLASSICAL PUBLIC RADIO ANNOUNCE FIRST-EVER PARTNERSHIP TO BROADCAST 2021 SEASON PRODUCTIONS 28 July 2021 SFO Contact: Emily Doyle Moore | [email protected] | 505-986-5908 KHFM Contact: Colleen Harris | [email protected] | 505-306-6503 Santa Fe, NM — The Santa Fe Opera and 95.5 KHFM Classical Public Radio are pleased to annoUnce a first-ever partnership to bring Santa Fe Opera prodUcYons to listeners across New Mexico and beyond. Presented on Mondays throUghoUt the month of AUgUst will be the opera’s 2021 Season prodUcYons of Mozart’s The Marriage of Figaro, John Corigliano and Mark Adamo’s world premiere opera The Lord of Cries, Tchaikovsky’s Eugene Onegin and Bri_en’s A Midsummer Night’s Dream. Each prodUcYon was recorded live from the stage of The Crosby Theater at the Santa Fe Opera on opening nights. Soprano and KHFM host Kathlene Ritch is joined by co-host, tenor and Santa Fe Opera Chief ArYsYc Officer David Lomelí to present these historic broadcasts which air at 6 pm MDT on AUgUst 2, 9, 16 and 23. Residents in AlbUqUerqUe, Santa Fe and the sUrroUnding commUniYes can tune in via 95.5 KHFM; Roswell at 103.1; Taos at 106.3; Ruidoso at 95.9; or by streaming online via a compUter or mobile device at KHFM.org. Listeners can look forward to commentary in both English and Spanish. The broadcasts are mixed by audio engineer Michael Schweppe for the Santa Fe Opera and prodUced by KHFM ExecUYve and Program Director Brent Stevens and Santa Fe Opera Director of Media and PUblic RelaYons Emily Doyle Moore.
    [Show full text]
  • A Barrel of Laughs Artist Statement Revised
    A Barrel of Laughs, A Vale of Tears An opera by Julia Adolphe and Stephanie Fleischmann Based on the novel by Jules Feiffer An adaptation of Jules Feiffer’s wonderfully loopy fairytale about a young royal doomed to make everyone around her laugh so hard that nothing gets done in her presence. How to cure her—and her kingdom—of this affliction? Why, send her on a quest, of course. A wild ride of a story involving endless transformation, a forest from which no one ever returns, a Sea of Malice, a Valley of Vengeance, a ruthless bully of a best friend, a spunky lady-in-waiting, a gentle giant, love at almost first sight and more. This playful, rollicking tale, which plumbs the perils of growing up and into one’s true self, takes Izzy, our young sovereign-to-be, on a journey that tests notions of friendship, identity, and love. Challenging conventional gender roles and relationships of the archetypal fable, the opera places a young woman at the center of a quest narrative that embraces a love of life and childlike wonder even as it explores the complex demands of adult responsibility. Struggling to discover who she is and what she wants, Izzy (short for Isador) magically transforms into animals and objects to appease or provoke those around her: A singing tree who entertains trapped, lonely forest dwellers; a wild boar who chases after her best friend Tom; a plain pebble hiding from the woman she loves; a mournful eagle on a mission to save innocent children from their aggrieved parents.
    [Show full text]
  • Program Notes
    08-16 ICE_GP2 copy 8/5/15 12:41 PM Page 1 Sunday Afternoon, August 16, 2015, at 5:00 International Contemporary Ensemble George Benjamin, Conductor M|M Pierre-Laurent Aimard, Piano Hila Plitmann, Soprano M|M Susan Bickley, Mezzo-soprano M|M The The Program MESSIAEN Oiseaux exotiques (1955–56) LIGETI Piano Concerto (1985–88) Vivace molto ritmico e preciso— Lento e deserto Vivace cantabile Allegro risoluto, molto ritmico— Presto luminoso: fluido, costante, sempre molto ritmico Intermission Into the Little Hill (2006) Music by George Benjamin Text by Martin Crimp A lyric tale in two parts for soprano, contralto, and ensemble of 15 players M|M Mostly Mozart debut Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Alice Tully Hall, Starr Theater Adrienne Arsht Stage 08-16 ICE_GP2 copy 8/5/15 12:41 PM Page 2 Mostly Mozart Festival The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provide d by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center Used by arrangement with European American Music Distributors Company, U.S.
    [Show full text]
  • NOTES from LGBTQ Michelle Meow, Master of Ceremonies SAMUEL BARBER First Essay for Orchestra, Op
    Presented by Pansy Lim Chan PRIDE & PREJUDICE: NOTES FROM LGBTQ MICHELLE MEOW, MASTER OF CEREMONIES SAMUEL BARBER First Essay for Orchestra, Op. 12 Bryan Nies, Conductor BENJAMIN BRITTEN Serenade for Tenor, Horn and Strings, Op. 31 I. Prologue II. Pastoral (Charles Cotton) III. Nocturne (Alfred, Lord Tennyson) IV. Elegy (William Blake) V. Dirge (Anonymous fifteenth century) VI. Hymn (Ben Jonson) VII. Sonnet (John Keats) VIII. Epilogue Jonathan Blalock, tenor Meredith Brown, horn JENNIFER HIGDON blue cathedral Bryan Nies, Conductor INTERMISSION CAMILLE SAINT-SAËNS Piano Concerto No. 2 in G minor, Op. 22 I. Andante sostenuto II. Allegro scherzando III. Presto Sara Davis Buechner, piano TIM ROSSER AND CHARLIE SOHNE With The Right Music: A Song Cycle World Premiere, Commissioned by Oakland Symphony Orchestrations by Matt Aument 1. With the Right Music 2. When Jason’s There 3. Nothing More 4. Better Version of You 5. A Message from the Gay Community Noah Galvin, singer, Lee Chisolm, soprano, Tatiana Cordoba, alto, Taylor Rawley, tenor 1, Alex Perkins, tenor 2, Brandon Bell, baritone Special Appearance by Jonathan Cozart Season Media Sponsors: East Bay Express, 7x7, Oakland Magazine The 2017/18 season of Oakland Symphony is generously funded in part by the East Bay Community Foundation; Clarence E. Heller Charitable Foundation; Women’s Philharmonic Advocacy; William and Flora Hewlett Foundation; the Rea Charitable Trust; the National Endowment for the Arts, a federal agency; and by the Oakland City Council and funded by the City of Oakland’s Cultural Funding Program. Major support generously provided by The Wallace Foundation. 12 OAKLAND SYMPHONY OAKLAND SYMPHONY ORCHESTRA COMPOSERS Michael Morgan, Music Director & Conductor Bryan Nies, Associate Conductor VIOLIN I VIOLA FLUTE TROMBONE Dawn Harms, Betsy London, Alice Lenaghan, Tom Hornig, Principal Concertmaster Principal Principal Donald Benham Vivian Warkentin, Patricia Whaley, Rena Urso Steve Trapani Asst.
    [Show full text]
  • Winter 2016 CUES BOWM-FINAL-Full-Page-Operacues-Katk-01C.Pdf 1 11/23/15 10:26 AM
    OPERAVolume 56 Number 04 | Winter 2016 CUES BOWM-FINAL-full-page-OperaCues-KatK-01c.pdf 1 11/23/15 10:26 AM Banking on what matters. “Practically any size business can benefit from the efficiencies that payables lockbox offers...” What are the current trends in business banking? Anything that promotes efficiency and profitability. In the treasury world, many companies have discovered that C receivables lockbox can streamline their processes. What M they may not be familiar with is payables lockbox. Y What impact can payable lockbox have? CM It’s a true end-to-end offering that centralizes the receiving of MY invoices and expedites payment securely via the Internet. Practically any size business can benefit from the efficiencies CY that payables lockbox offers... not to mention the cost savings CMY afforded by transitioning to a paperless process. Honestly, in K today’s environment, I can’t imagine any business not moving to this next step in operational productivity. Are you as passionate about everything as you are about this? Even more so probably, just ask my family, or frankly, anyone who knows me. On a scale of 1 to 10, I’d say helping our clients improve their efficiency ranks a 12! That’s worth my passion! Katrina King, Executive Vice President, Treasury Management To find out how Cadence can help you with your business’ efficiency goals, call 713-871-3916 or visit us at cadencebank.com/treasury THE MARRIAGE OF FIGARO RUSALKA JAN FEB JAN FEB 22 | 24m | 30 3 | 5 | 7m 29 | 31m 6 | 9 | 12 > PATRICK SUMMERS PERRYN LEECH Artistic & Music Director Managing Director MARGARET ALKEK WILLIAMS CHAIR ADVERTISE IN OPERACUES Opera Cues is published by Houston Grand Opera Association; all rights reserved.
    [Show full text]
  • Study Guide for Little Women.Pub
    com/little-women/images/ , New York City Opera York , City New tour in on Tokyo, Japan, Little Women Little Act Act 1, Scene 1, 2005.May Joe Image, McNally. http://www.markadamo. ‘Stay’ is a charming word in a friend’s vocabulary —Louisa May Alcott This quote, in a way, embodies the underlying theme of composer Mark Adamo’s opera adaptation of Louisa May Alcott’s timeless and widely Music andLibrettoMark Adamo, by published story Little Women . Approached by Houston Opera Studio in 1998 based on theLouisaby novel AlcottMay to adapt the novel, Mr. Adamo set himself the task of looking at all the Little Women Little Women musical, stage, and film adaptations of Little Women before he would begin to create a libretto. During his research, he found what he called “ a dramatic solution : a new design of the material which, while clearly visible in the original source, had never been used before.” Thus he arrived at the idea that Jo was in conflict with the passage of time itself. She knew and feared that as she and her sisters grew up they would inevitably grow apart. The change theme is reiterated throughout the opera: • In the Prologue, Jo mocks her own desire to stop time and the changes she knows will happen when she sings, “Couldn’t I un-bake the breads?” • During Act 1, though she continues to fight it, it seems that everyone she cares about reminds Jo that “Things change,” while she halfheartedly laments that they were perfect as they are. • It’s only in the last scene that Mr.
    [Show full text]
  • 2016 Opera Insider Central City Opera
    2016 Opera Insider Central City Opera If you are reading this in PDF format, all blue/ underlined text links to additional content. 2016 Opera Insider 2 Central City Opera Anschutz Foundation | Schramm Foundation Henry R. Schwier Charitable Fund Earl D. and Julia A. Banks | Mr. and Mrs. Donald E. Beauregard | Nancy Benson John and Anne Draper | Douglas and Martha Dyckes | Bruce and Heidi Hoyt | Mrs. Helen Olson Hull Anne and Tom McGonagle in memory of William Hallager | Carl and Deborah Morrow Emily Murdock | Bette and David Poppers | Marcia Ragonetti | Andrew and Karen Ritz Erin Joy Swank | Pam and Sonny Wiegard Roger Ames, Resident Teaching Artist 2016 Opera Insider 3 Central City Opera So what IS opera? Opera is telling a story. Take some interesting people, add in a little adventure, some love, or even some hate; put it all in an interesting place, and maybe an interesting time, and you’ve got a story fit for an opera. Opera is drama. Take the story you’ve chosen and put the words into dialogue for actors to say. Tell the story in a creative way and add in some heroes and heroines or queens and kings. Maybe a monster—or four. Make sure there is a clear conflict in the story that the characters must overcome. Put your actors in costumes and makeup, and put them on a stage with some great scenery in order to illuminate the characters. Opera is music. Write some fantastic music for your play. Instead of having the actors speak, have them sing…everything! When they get really happy or mad, have them sing high and loud! When they are trying to express an important emotion, let them sing something longer to show off a little.
    [Show full text]