Weill, Kurt (Julian)
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Children in Opera
Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls ................................................................................. -
Francis Poulenc
CHAN 3134(2) CCHANHAN 33134134 WWideide bbookook ccover.inddover.indd 1 330/7/060/7/06 112:43:332:43:33 Francis Poulenc © Lebrecht Music & Arts Library Photo Music © Lebrecht The Carmelites Francis Poulenc © Stephen Vaughan © Stephen CCHANHAN 33134(2)134(2) BBook.inddook.indd 22-3-3 330/7/060/7/06 112:44:212:44:21 Francis Poulenc (1899 – 1963) The Carmelites Opera in three acts Libretto by the composer after Georges Bernanos’ play Dialogues des Carmélites, revised English version by Joseph Machlis Marquis de la Force ................................................................................ Ashley Holland baritone First Commissioner ......................................................................................James Edwards tenor Blanche de la Force, his daughter ....................................................... Catrin Wyn-Davies soprano Second Commissioner ...............................................................................Roland Wood baritone Chevalier de la Force, his son ............................................................................. Peter Wedd tenor First Offi cer ......................................................................................Toby Stafford-Allen baritone Thierry, a valet ........................................................................................... Gary Coward baritone Gaoler .................................................................................................David Stephenson baritone Off-stage voice ....................................................................................... -
TAG SCRIPT LIBRARY Nov 2013.Xlsx
TITLE Author Genre Men WOMEN NOTES pages 10 Classic Mystery and Suspense Plays of the Modern T 1776‐And All That Wibberley, Leonard drama 98 70 24 Favorite 1 Act Plays Cerf, Bennet ‐ Editor Collection 27 Wagons Full of Cotton Williams, Tennessee 1 act 54 3 Plays by Noel Coward Coward, Noel Collection 3 Plays by Tina Howe Howe, Tina Collection 42nd St. screenplay 6 RMS RIV VU Randall, Bob comedy 4 4 hardbound 157 84 Charring Cross Road Hanff, Helene A 1000 Clowns, Thieves, The Goodbye People Gardner, Herb Collection A Breeze from the Gulf Crowley, Mart drama 2 1 hardbound 184 A Chorus Line Hamlisch, M.and Kleban, E, . conductor score 220 A Clearing in the Woods Laurents, Arthur drama 5 5 hardbound 170 A Connecticut Yankee in King Arthur's Court Fuller, John G. comedy 6 6 147 A Few Good Men Sorkin, Aaron drama 14 1 A Flea in Her Ear Feydeau, George A Florentine Tragedy Wilde, Oscar 1 act 20 A Kind of Alaska Pinter, Harold one act 1 2 A Life in the Theare Mamet, David A Life in the Theatre Mamet, David comedy 2 0 84 A Little Night Music Wheeler, & Sondheim musical 7 11 182 A Marriage Proposal Chekhov, Anton 1 act 12 A Memory of two Mondays Miller, Arthur drama‐1 act 12 2 1 act A Memory of two Mondays Miller, Arthur drama‐1 act 12 2 1 act A Moon For the Misbegotten O'Neill, Eugene drama 3 1 83 A Thousand Clowns Gardner, Herb comedy 4 1 1 boy approx 12 104 A Touch of the Poet O'Neill, Eugene drama 7 3 takes place in 180 A View from the Bridge Miller, Arthur drama 10 3 78 A View From The Bridge Miller, Arthur drama 10 3 hardbound 78 A Walk -
Assisted by Katie Rowan, Accompanist
THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair presents Morgan Robertson & Ellie Wise Junior Voice Recital assisted by Katie Rowan, Accompanist Tuesday, April 9, 2013 • 7:30 p.m. Belhaven University Center for the Arts • Concert Hall There will be a reception after the program. Please come and greet the performers. Please refrain from the use of all flash and still photography during the concert. Please turn off all pagers and cell phones. PROGRAM I Wish It So from Juno Marc Blitzstein • 1905 - 1964 My Ship from Lady in the Dark Kurt Weill • 1900 - 1950 Ira Gershwin • 1896 - 1983 Morgan Robertson, Soprano; Katie Rowan, Accompanist Out There from Hunchback of Notre Dame Stephen Schwarts • b. 1948 Alan Menken • b. 1949 There Won’t Be Trumpets from Anyone Can Whistle Stephen Sondhiem • b. 1930 Ellie Wise, Soprano; Katie Rowan, Accompanist Take Me to the World from Evening Primrose Stephen Sondheim The Girls of Summer from Marry Me a Little Morgan Robertson, Soprano; Katie Rowan, Accompanist Glamorous Life from A Little Night Music Stephen Sondheim My New Philosophy from You’re a Good Man, Charlie Brown Clark Gesner • 1938 - 2002 Ellie Wise, Soprano; Katie Rowan, Accompanist Mr. Snow from Carousel Richard Rodgers • 1902 - 1979 Oscar Hammerstein II • 1895 - 1960 Morgan Robertson, Soprano; Katie Rowan, Accompanist My Party Dress from Henry and Mudge Kait Kerrigan • b. 1981 Brian Loudermilk • b. 1983 Ellie Wise, Soprano; Katie Rowan, Accompanist INTERMISSION Always a Bridesmaid from I Love You, You’re Perfect, Now Change Jimmy Roberts Morgan Robertson, Soprano; Katie Rowan, Accompanist Music and the Mirror from A Chorus Line Joe DiPietro • b. -
Nl262-2 Rev:Layout 1.Qxd
Volume 26 Number 2 topical Weill Fall 2008 A supplement to the Kurt Weill Newsletter news & news events The Firebrand Returns Weill’s 1945 operetta with lyrics by Ira Gershwin and book by Edwin Justus Mayer, The Firebrand of Florence, will return to New York on 12 March 2009 for the first time since its ill-fated Broadway run. The Collegiate Chorale has assem- bled an all-star cast for the occasion, including Nathan Gunn (Benvenuto Cellini, the “Firebrand”), Anna Christy (Angela), and Terrence Mann (Duke). Lincoln Center’s Alice Tully Hall provides the venue for a concert performance directed and narrated by Roger Rees; Paul Gemignani conducts. Other Notable Productions Montreal audiences will have the opportunity to see François Girard’s acclaimed Opéra de Lyon 2006 double bill of Der Lindberghflug and Die sieben Todsünden when the production travels to the Montreal High Lights Festival next February after successful tours to the 2006 Edinburgh Festival and to the Anna Christy Nathan Gunn 2008 New Zealand International Arts Festival in Wellington. Four performances of Girard’s imaginative and luminous staging are scheduled for 18-21 February 2009. Charles Workman plays Lindbergh, and Magdalena Anna Hofmann plays Anna I to seven different Anna IIs (one per sin); Walter Boudreau conducts the Société de Musique Contemporaine du Québec. HK Gruber will lead the Klangforum Wien and Chorus Sine Nomine in a June 2009 European tour of Die Dreigroschenoper performed in concert. The multi-nation- al cast includes Ian Bostridge (Macheath), Hanna Schwarz (Celia Peachum), Dorothea Röschmann (Polly Peachum), Angelika Kirchschlager (Jenny), Florian Boesch (Tiger Brown), Lydia Teuscher (Lucy), and Christoph Bantzer (Narrator). -
Mona Lisa LEON BOTSTEIN, Conductor
Friday Evening, February 20, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Mona Lisa LEON BOTSTEIN, Conductor MAX VON SCHILLINGS Mona Lisa ACT I Intermission ACT II Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Soprano Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor BARD FESTIVAL CHORALE JAMES BAGWELL, Director This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director The Stolen Smile DVDs or pirated videos. Opera is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare operas the ASO has pio- ence. -
Brechtian Theory
GUTES TUN 1,3: BRECHTIAN THEORY AND CONTEMPORARY DIDACTIC THEATER by ERICA MARIE HAAS (Under the Direction of Martin Kagel) ABSTRACT The play Gutes Tun 1,3 (2005), written and performed by Anne Tismer and Rahel Savoldelli, lends to comparison to the works of Bertolt Brecht: Tismer and Savoldelli aim to educate the audience about social issues, using Brechtian performance techniques such as Verfremdung to relay their ideas. However, upon closer examination, it is clear that Gutes Tun 1,3 ultimately diverges from Brechtian theory, especially with regard to the way that social messages are conveyed. INDEX WORDS: Gutes Tun, Off-Theater, German theater, Modern theater, Anne Tismer, Rahel Savoldelli, Ballhaus Ost, Bertolt Brecht GUTES TUN 1,3: BRECHTIAN THEORY AND CONTEMPORARY DIDACTIC THEATER by ERICA MARIE HAAS B.A., New College of Florida, 2005 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2009 ©2009 Erica Marie Haas All Rights Reserved iv DEDICATION This thesis is dedicated to my friends, especially my best friend, Jessica, for all of her love, support, and silly text messages from across the miles. Priya, Beau, Matt, Amy the Brit, Kristie, JP, Med School Amy, Mike, Alia, Fereshteh, Sam, Lea, and Sarah the Zwiebel are some of the best cheerleaders that a girl could ever hope for. Finally, this thesis is dedicated to my friends from Joe Brown Hall, who have made the past two years in Athens so memorable. Life would not have been as much fun without the basement camaraderie and YouTube prowess of Will, Zachary, Carlos, Justin, Caskey, Monika, Hugh, Flo, Ulla, Boris, Keith, Janith, Antje, Marcie, Lena, Susa, Cassie, Sarah, Katie, and Paulina. -
Note Al Programma
NOTE AL PROGRAMMA Berlino, al centro del continente europeo e della sua storia, è sempre stata in grado di rivelare, in ogni epoca, da che parte spirasse il vento, rappresentando il fulcro della modernità occidentale quanto ad arte, musica, cultura e pensiero politico. Agli inizi degli Anni Trenta del secolo scorso l’aria che tirava era fortemente condizionata dal Nazismo. La crisi economica derivante dal crollo di Wall Street nel ’29 e la disoccupazione dilagante nella Repubblica di Weimar avevano posto le basi a un cambiamento politico che, per una città così vitale e aperta alla diversità e ai dibattiti d’ogni tendenza, rappresentava una grossa stonatura. Dal disagio sociale i nazisti avevano tratto beneficio e potere, e inculcarono nel pensiero comune che le colpe di quel dissesto fossero da imputare alla popolazione di discendenza ebraica. E l’incolpare gli ebrei di ogni fatto qualunque, perfino meteorologico, divenne per tutti un luogo comune. La devastazione, nel novembre del ’38, delle vetrine dei negozi appartenenti a commercianti ebrei fu la prova di una strada ormai segnata e senza ritorno. Mentre una legge stabiliva che quei danni dovessero «essere immediatamente riparati [dagli stessi] titolari e dai dirigenti ebrei [e a loro spese]», in città v’era uno spazio in cui tutto questo, oltre al quotidiano, diventava materia di un discorso comune, capace di cogliere l’ironia da ogni fatto rovesciando l’umore di ciascun cittadino: era il cabaret. Esisteva da tempo, il cabaret, come palcoscenico irriverente e beffardo sull’attualità. Ma nel periodo nazista questo divenne inevitabilmente il nucleo di grandi contraddizioni e di conflitti ideologici. -
Der Kuhhandel
Volume 22 Kurt Weill Number 2 Newsletter Fall 2004 Der Kuhhandel In this Issue: Bregenz Festival Reviewed Feature Article about Weill and An Operetta Resurfaces Operetta Volume 22 In this issue Kurt Weill Number 2 Newsletter Fall 2004 Note from the Editor 3 Letters 3 ISSN 0899-6407 Bregenz Festival © 2004 Kurt Weill Foundation for Music Der Protagonist / Royal Palace 4 7 East 20th Street Horst Koegler New York, NY 10003-1106 Der Kuhhandel 6 tel. (212) 505-5240 Larry L. Lash fax (212) 353-9663 Zaubernacht 8 Horst Koegler Published twice a year, the Kurt Weill Newsletter features articles and reviews (books, performances, recordings) that center on Kurt Weill but take a broader look at issues of twentieth-century music Feature and theater. With a print run of 5,000 copies, the Newsletter is dis- Weill, the Operettenkrise, and the tributed worldwide. Subscriptions are free. The editor welcomes Offenbach Renaissance 9 the submission of articles, reviews, and news items for inclusion in Joel Galand future issues. A variety of opinions are expressed in the Newsletter; they do not Books necessarily represent the publisher's official viewpoint. Letters to the editor are welcome. Dialog der Künste: Die Zusammenarbeit von Kurt Weill und Yvan Goll 16 by Ricarda Wackers Esbjörn Nyström Staff Elmar Juchem, Editor Carolyn Weber, Associate Editor Performances Dave Stein, Associate Editor Teva Kukan, Production Here Lies Jenny in New York 18 William V. Madison Kurt Weill Foundation Trustees Kim Kowalke, President Paul Epstein Der Zar lässt sich photographieren -
What to Do with Gestus Today Version II
Abstract This thesis explores the common and dialectical features of pedagogy, Bertolt Brecht’s Gestus, and identity construction. It speaks from the perspectives of pedagogue, actor and subject. It argues that in each of these modes the subject is necessarily engaged in both an ontological dilemma and opportunity, which is performative. It exposes embodiment as an oscillatory process of absence and presence. This is predicated on the impossibility of arriving at a fixed notion of being in the world. The thesis is set within an autobiographical frame. First because each mode marks an encounter in the life of Rob Vesty, and second because the practice-based-research uses autobiographical performance. It advances by constructing a piece of performative writing, an autobiographical timeline, to affect an experience of the practice, which informs this thesis. This piece introduces a montage of three juxtaposing studies. The first draws on Rob Vesty’s work in TIE with Splendid Productions and uses the company’s 2007/2008 performance and workshop tour of Brecht’s The Good Woman of Szechuan. It argues that a dialectic, rather than didactic, process must occur in the pedagogic setting and that this is dependent on the presence of a creative gap produced by a strong aesthetic. The second study then argues that the Gestic actor embodies and ‘writes’ this creative gap in a parodic way and that a virtue is made of showing its construction. The final study turns to Rob Vesty’s (2008) solo theatre show – One Man Good Woman – to chart the way identity impacts upon autobiography. It argues that the ‘written’ nature of autobiography and identity renders the subject both absent and present and retains dialectical features in its construction. -
An Analysis of Personal Transformation and Musical Adaptation in Vocal Compositions of Kurt Weill
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2011 An Analysis of Personal Transformation and Musical Adaptation in Vocal Compositions of Kurt Weill Elizabeth Rose Williamson Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Recommended Citation Williamson, Elizabeth Rose, "An Analysis of Personal Transformation and Musical Adaptation in Vocal Compositions of Kurt Weill" (2011). Honors Theses. 2157. https://egrove.olemiss.edu/hon_thesis/2157 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. AN ANALYSIS OF PERSONAL TRANSFORMATION AND MUSICAL ADAPTATION IN VOCAL COMPOSITIONS OF KURT WEILL by Elizabeth Rose Williamson A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2011 Approved by Reader: Professor Corina Petrescu Reader: Professor Charles Gates I T46S 2^1 © 2007 Elizabeth Rose Williamson ALL RIGHTS RESERVED II ACKNOWLEDGEMENTS I would like to thank the people of the Kurt Weill Zentrum in Dessau Gennany who graciously worked with me despite the reconstruction in the facility. They opened their resources to me and were willing to answer any and all questions. Thanks to Clay Terry, I was able to have an uproariously hilarious ending number to my recital with “Song of the Rhineland.” I thank Dr. Charles Gates for his attention and interest in my work. -
Kurt Weill Newsletter SPRING 2019
VOLUME 37 NUMBER 1 Kurt Weill Newsletter SPRING 2019 Raves for Lady in the Dark at New York City Center New Lives for Deadly Sins Unveiling a New Orchestration IN THIS ISSUE VOLUME 37 Kurt Weill Newsletter NUMBER 1 EDITOR’S NOTE 2 German Publisher for Love Life SPRING 2019 As so often, this spring finds us looking both backward and for- tions to date to offer perspective and context for all those newly 3 Editor’s Note ward to striking developments in the Weill universe. Behind us intrigued by the work. Down in the Valley Re-Issue lies the MasterVoices production of Lady in the Dark, which Marc Blitzstein’s universe expanded this past season as well, © 2019 Kurt Weill Foundation for Music ISSN 0899-6407 Vive les Livres! proved to be everything Weill fans had been hoping for, greet- with the world premiere of the complete score of his ballet Cain. 7 East 20th Street tel (212) 505-5240 Rise of the City of Mahagonny ed by a rapturous press and prolonged ovations at each perfor- Our news section offers a brief account, along with a cornuco- New York, NY 10003-1106 fax (212) 353-9663 mance. Meanwhile, a new epoch in the history of one of Weill's pia of other stories, not least the results of the latest Lotte Lenya FEATURES [email protected] [email protected] best-known works, Die sieben Todsünden, begins on 21 Septem- Competition. We must also shoulder the sad duty of memorializ- ing three great artists who intersected with Weill, Len ya, or Blitz- 4 Raves for Lady ber at Beethovenfest Bonn, the world premiere of a new version Published twice a year, the Kurt Weill Newsletter features articles and reviews for an orchestra of fifteen musicians.