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THE MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION THE INTERNATIONAL UNION OF MUSICIANS THE MOSCOW CONSERVATORY THE ACADEMY OF CHORAL ART THE IRINA ARKHIPOVA FOUNDATION The XXV GLINKA INTERNATIONAL VOCAL CONTEST December 9 – 19, 2014 Russia, Moscow 1. APPLICATION 1.1. Participation in the competition is available for singers born in the period from January 1, 1982 to December 31, 1996, graduated from music secondary or high school and those who are still studying in. Any selection by CD or DVD is not intended, would be used just in case if the applicant does not meet the requirements mentioned above. Then the applicant is requested to provide the DVD with recording an Opera aria. 1.2. Auditions include two preliminary rounds and one final round. All auditions are open for public. The order of pieces is up to participants. The order of presentations is determined by drawing lots. 1.3. The application form and documentation package should be sent to e-mail: [email protected] not later than October 20, 2014 The application form should be supplemented by: 1. Passport copy. 2. Birth certificate copy. 3. Graduation certificate copy or certificate from educational institution (for students). 4. CV 5. One photo (life portrait), resolution not less than 300 dpi 6. Full program for each round (the composer, the piece, the first words of the aria or the Lied. 7. Copy of an application fee payment receipt. NB!!! Foreign citizens pay the application fee while registration. Information telephone: +7- 495- 629-60-29 e-mail: [email protected] More information: www.glinka-contest.ru 1.4. Application forms received without full documentation package or sent after specified date won’t be adopted. 1.5. Notes of musical composition chosen by a participant for II tour p.3 (modern pieces) should be sent with the documentation. 1.6. Participants shall transfer application fee in the amount of 3000 rubles via Sberbank of Russia to International Union of Musicians account in order to participate. Copy of an application fee payment receipt should be sent with documentation. Original receipt should be submitted for registration and will be admitted for participation. Application fee is nonrefundable for those who will be absent during allocation draw pots procedure. NB!!! Foreign citizens pay the application fee while registration. 1.7. Official invitations will be sent to all participants allowed to take part in the competition not later than November 1, 2014. 1.8. Information about possible accommodation in Moscow (if necessary) and date of advanced booking will be available on a website of competition www.glinka-contest.ru Accommodation and travel expenses are on the cost of participant. 2. COMPETITION PROCEDURE 2.1. Organizing Committee according to advance applications of participants provides concertmasters for two rehearsals and performance in I and II Rounds without additional cost. PLEASE, DON’T FORGET TO MENTION THAT YOU NEED A CONCERMASTER IN YOUR APPLICATION FORM. 2.2. Laureates and diploma winners (according to jury choice) are obligated to take part in two gala concerts without fee. 2.3. Rights of video- and audio-records of participants and laureates performances during the competition and gala concerts belong to the Organizing Committee. Rights include: - recording and performing, - broadcast, - record distribution through its realization or other assignation of its original or copies on any form. 3. THE PROGRAM OF THE CONTEST First Round 1. An aria from an opera, cantata or an oratorio (XVII-XVIII cc). 2. An Opera aria (XIX-XX cc). Second Round 1. Romance by Mikhail Glinka on the participant’s choice. 2. Folk-song (preferably a capella). 3. A piece by a composer of any country written not earlier than 1975 (an aria from an opera, oratorio or a cantata, concert aria, romance) on the participant’s choice. Note: The notes of a play chosen by a participant should be sent together with the documents. Participants who haven't sent the notes will not be registered. 4. An Opera aria by any composer with the exception of the Russian ones, preferably Italian, French, German. 5. One of the required arias of a Russian composer (depending on the voice) from the following operas: SOPRANO Borodin. «Prince Igor». «Ah!Platchu ya, gor'ko platchu ya...» (Yaroslavna) Glinka. «A Life for the Tsar». «Ah, ty, pole…» (Antonida) «Ruslan and Lyudmila». «Grustno mne, roditel' dorogoi... » (Lyudmila) «Kakie sladostnye zvuki…» (Gorislava) Dargomyzhsky. «Rusalka». «S teh por kak brosilas' ya v vodu…» (Natasha) Mussorgsky. «Sorochinskaya yarmarka». «Ty ne grusti, moi mily…» (Parasia) Molchanov. «The Dawns Here are Calm». Vokalize Lizy Brichkinoi (Liza Brichkina) Rachmaninoff. «Francesca da Rimini». «O, ne rydai, moi Paolo…» (Francesca) Rimsky-Korsakov. «The Golden Cockerel». «Otvet' mne, zorkoe svetilo…» (The Queen of Shemakha) «Christmas Eve». «Chto lyudiam vzdumalos' rasslavit'…» (Oxana) «Servilia». «Tsvety moi!..» (Servilia) «The Tale of Tsar Saltan». «Ty tsarevich, moi spasitel'…» (Swan- Princess) «The Tsar’s Bride». «V Novgorode my riadom s Vanei zhili…» (Marfa, act 2) «The Tsar’s Bride». «Ivan Sergeich, hochesh' v sad poydem…» (Marfa, act 4) Tchaikovsky. «The Queen of Spades». «Uzh polnoch' blizitsa…» (Liza, act 3) Shostakovich. «Lady Macbeth of the Mtsensk District». «Ya odnazhdy v okoshko uvidela…» (Katerina, act 1) MEZZO-SOPRANO Borodin. «Prince Igor». «Merknet svet dnevnoi…» (Konchakovna) Glinka. «A Life for the Tsar». «Bednyi kon' v pole pal…» (Vanya) «Ruslan i Lyudmila». «I zhar, i znoi smenila noch’i ten'…» (Ratmir) Mussorgsky. «Khovanshchina». «Sily potainiye…» (Marfa, act 2) Rimsky-Korsakov. «Kashchey the Deathless». «Nastala noch', zatihnul veterok…» (Kashcheevna) «Sadko». «Vsyu noch' zhdala ego ya…» (Lyubava) «The Snow Maiden». «V urochny tchas obychnoy cheredoyu…» (Vesna-Krasna) «The Tsar’s Bride». «Net, byt' ne mozhet…» (Lyubasha, act 1) «The Tsar’s Bride». «Vot do tchego ya dozhila, Grigory…» (Lyubasha, act 2) Taneyev. «The Oresteia». «O gore mne, prestupnitse neschastnoi...» (Klytemnestra) Tchaikovsky. «Eugene Onegin». «Ah Tania, Tania…» (Olga, act 1) Shchedrin. «Not Love Alone». «Po lesam kudryavym…» (Varvara) TENOR Borodin. «Prince Igor». «Medlenno den' ugasal…» (Vladimir ) Glinka. «Ruslan and Lyudmila». «Est' pustynny krai... » (Bayan) «Ruslan and Lyudmila». «Dobro pozhalovatj, moj syn…» (Finn) Dargomyzhsky. «Rusalka». «Nevol'no k etim grustnym beregam…» (Prince) Rahmaninoff. «Aleko». «Vzgliani pod otdalionnym svodom…» (Young Gypsy) Rimsky-Korsakov. «May Night». «Spi, moya krasavitca…» (Levko, act 3) «Sadko». «Ne schest' almazov v kamennyh pescherah…» (The Indian Guest) «The Tsar’s Bride». «Tucha nenastnaya…» (Lykov) Tchaikovsky. «Eugene Onegin». «Kuda, kuda vi udalilis…» (Lensky) «The Queen of Spades». «Chto nasha zhizn'…» H-dur. (Hermann) Shostakovich. «Lady Macbeth of the Mtsensk District». «U menya bila kuma…» (Drunken Guest) BARITONE Borodin. «Prince Igor». «Ni sna, ni otdykha…» (Igor) Prokofiev. «War and Peace». «Bespodobny narod…» (Napoleon) Rimsky-Korsakov. «Kaschey the Deathless». «Gluhaya noch…» (Ivan-Korolevich) «Sadko». «Gorod kamenny…» (Venetian Guest) «Tsar’s Bride». «S uma neidet…» (Griaznoi) Tchaikovsky. «Eugene Onegin». «Vy mne pisali, ne otpiraytes'…» (Onegin) «Iolanta». «Kto mozhet sravnit'sya s Matil'doy moej…» (Robert) «Mazepa». «O, Maria… Na sklone let moih…» (Mazepa) «The Queen of Spades». «Ya vas ljublju, ljublju bezmerno…» (Prince Yeletsky) BASS Borodin. «Prince Igor». «Zdorov li knyaz'?..» ( Konchak) «Greshno tait': ya skuki ne ljublju…» (Galitsky) (bass-baritone) Glinka. «A Life for the Tzar». «Tshujut pravdu…» (Susanin) «Ruslan i Lyudmila». «O radost', ya znal…» (Farlaf) «O pole, pole! Kto tebia useyal…» (Ruslan) (bass-baritone) Dargomyzhsky. «Rusalka». «Vot to-to, vse vy devki molodye…» (Miller) Mussorgsky. «Boris Godunov». «Dostig ya vysshei vlasti…» (Boris) (bass-baritone) «Esche odno, poslednee skazan'e…» (Pimen) «Khovanshchina». «Spit streletskoe gnezdo... » (Shaklovity) (bass-baritone). «Zdes', na etom meste... » (Dosifei) Prokofiev. «War and Peace». «Velitshavaya, v solnechnyh luchah…» (Kutuzov) Rachmaninoff. «Aleko». «Ves’ tabor spit…» (bass-baritone) «Volshebnoi siloi pesnopenia…» (Old gypsy) Rimsky- Korsakov. «Sadko». «O skaly groznye…» (Varangian Guest) Rubinshtein. «The Demon». «Ne plach, ditia…» (Demon) (bass-baritone). Tchaikovsky. «Eugene Onegin». «Ljubvi vse vozrasty pokorny…» (Prince Gremin) «The Queen of Spades». «Tak vy pro nee nichego ne znaete?...Odnazhdy v Versale…» (Tomsky, act 1) (bass-baritone) «Iolanta». «Chto skazhet on…» (King Rene) ATTENTION TO COUNTERTENORS! In the second tour program it is recommended to choose one of the following arias instead of Russians Arias mentioned above: Rossini «Tancredi» «Tu сhe accendi questo core…» (Tancredi) «Che son io? Che scordar non so…» (Tancredi) Strauss Y. «Die Fledermaus» («The Bat») «Ich Lade Gern mir Gäste ein…» (Prince Orlofsky) Britten «A Midsummer Night’s Dream» «Welcome Wanderer - I Know а Bank…» (Oberon) Round III Final audition with orchestra. 1. Aria from an Opera by a Russian composer. 2. Aria from an Opera by a West-European composer. Attention to the countertenors! Performance of both arias from operas by West-European composers (instead of Russian aria) is allowed in Round III. IMPORTANT!!! а) One piece may be performed only in one round. b) All pieces should be performed in the original language. c) The order of performing pieces is up to the participant. d) Substitution of pieces mentioned by the participants in the
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  • Classical Christmas

    Classical Christmas

    Classical Friday, Dec. 9 CHristmas 10:30am Stefan Sanders leads the BPO and Buffalo Philharmonic Chorus in this festival celebration of timeless musical treasures, including Bach’s Christmas Oratorio REPERTOIRE: and Handel’s Messiah . Rimsky-Korsakov: Suite from Christmas Eve Eric Whitacre: Winter, Naryan Padmanabha, sitar Respighi: L’Adorazione dei Magi from Trittico Botticelliano Bach: Weihnachtsoratorium, BWV 248 [Christmas Oratorio] Cantana IV: On New Year’s Day (The Feast of Circumcision) No. 36 Fallt mit Danken, fallt mit Loben (chorus) No. 38 Recitativ: Immanuel, o susses Wort ! (baritone and soprano) No. 39 Aria: Flost, mein Heiland, lost dein Namon (soprano and boy soprano) Cantata V: On the Sunday After New Year (King Herod) No. 53 Choral: Zwar ist solche Herzensstube Cantata VI: On the Feast of the Epiphany (The Adoration of Magi) No. 64 Choral: Nun said ihr wohl gerochen Emily Helenbrook, Brad Hutchings, Ayden Herried, Buffalo Philharmonic Chorus Intermission: Randol Bass: Festival Magnificat. Buffalo Philharmonic Chorus Arr. John Rutter: I saw Three Ships. Buffalo Philharmonic Chorus John Rutter: Mary’s Lullaby. Buffalo Philharmonic Chorus Adam/ John Rutter: O Holy Night. Buffalo Philharmonic Chorus Handel/ John Rutter: Joy to the World. Buffalo Philharmonic Chorus Tchaikovsky: Finale to Act 1 of The Nutcracker, Op. 71 6. Scena 7. Scena (Battle) 8. Scena 9. Waltz of the Snowflakes Women of the Buffalo Philharmonic Chorus Handel: Hallelujah Chorus from Messiah. Buffalo Philharmonic Chorus Nikolai Rimsky-Korsakov: “Christmas Eve” Russian Composer (1844-1908) Rimsky-Korsakov’s Opera Christmas Eve was completed in 1895. The four act libretto (text of the opera) by the composer is based on a short story by Nikolai Gogol from his collection titled “Evenings on a farm near Dikanka”, published in 1832.
  • The Negotiation of Nationalism in Nineteenth-Century Russian Opera

    The Negotiation of Nationalism in Nineteenth-Century Russian Opera

    Not Russian Enough The Negotiation of Nationalism in Nineteenth-Century Russian Opera R H ©?=>> Rutger Helmers Print production by F&N Boekservice Typeset using: LATEX ?" Typeface: Linux Libertine Music typesetting: LilyPond Not Russian Enough: The Negotiation of Nationalism in Nineteenth-Century Russian Opera Niet Russisch genoeg: nationalisme en de negentiende-eeuwse Russische operapraktijk (met een samenvatting in het Nederlands) P ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magniVcus, prof. dr. G. J. van der Zwaan, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op donderdag ? februari ?=>? des ochtends te >=.@= uur door Rutger Milo Helmers geboren op E november >FE= te Amersfoort Promotor: Prof. dr. E. G. J. Wennekes Co-promotor: Dr. M. V. Frolova-Walker Contents Preface · vii Acknowledgements · viii Preliminary Notes · x List of Abbreviations · xiii Introduction: The Part and the Whole · > Russia and the West · C The Russian Opera World · >= The Historiographical Legacy · >B Russianness RedeVned · ?> The Four Case Studies · ?A > A Life for the Tsar · ?F Glinka’s Changing Attitude to Italian Music · @@ The Italianisms of A Life for the Tsar · @F Liberties · BA Reminiscences · C> Conclusion · CB v vi CON TEN TS ? Judith · CD Serov the Cosmopolitan · D= Long-Buried Nationalities · E> Judith and Russianness · FE Conclusion · >=D @ The Maid of Orléans · >>> The Requirements of the Operatic Stage · >>C Schiller, The Maid, and Grand Opera Dramaturgy · >?>