Boston Symphony Orchestra Concert Programs, Season
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Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
Joshua Cockayne Thesis.Pdf
The God-Relationship: A Kierkegaardian account of the Christian spiritual life Joshua Luke Cockayne PhD University of York Philosophy July 2016 Abstract By drawing on the writings of Søren Kierkegaard, I address the question of what it is to live in relationship with God. In answering this question, it is important to recognise that God, as he is described in the Christian tradition, is a personal God. For this reason, the account of the Christian spiritual life I outline is described as a life of coming to know God personally, rather than as a life of coming to know about God by learning about him. As I argue, a minimal condition for knowing God personally in this way is that an individual has a second-person experience of God. However, one of the barriers which prevents relationship with God from occurring in this life is that the human will is defective in such a way that human beings cannot will to be in union with God. Because of this problem, human beings cannot live in union with God in this life. And so, in order to allow for the possibility of union with God in the life to come, the human will must be repaired; consequently, one of the key tasks of the spiritual life is this task of repairing a person’s will by re-orienting it so that union with God is possible. Since a person cannot be in union with God in this life, it is important to give an account of what it is to be in relationship with God in the spiritual life. -
THE NEW YORK PHILHARMONIC THIS WEEK Broadcast Schedule – Spring 2020
THE NEW YORK PHILHARMONIC THIS WEEK Broadcast Schedule – Spring 2020 PROGRAM#: NYP 20-27 RELEASE DATE: March 25, 2020 Music of Our Time: Liang, Dalbavie, Shepherd, Muhly, and Pintscher Lei LIANG (b. 1972): Verge, for 18 Strings (2009) (Magnus Lindberg, conductor) Marc‐André DALBAVIE (b. 1961): Melodia, for Instrumental Ensemble (2009) (Magnus Lindberg, conductor) Sean SHEPHERD (b. 1979): These Particular Circumstances, in seven uninterrupted episodes (2009) (Alan Gilbert, conductor) Nico MUHLY (b. 1981): Detailed Instructions, for orchestra (2010) (Alan Gilbert, conductor) Matthias PINTSCHER (b. 1971): Songs from Solomon’s garden, for baritone and chamber orchestra (2009; New York Philharmonic Co‐Commission with the Frankfurt Radio Symphony Orchestra) (Alan Gilbert, conductor; Thomas Hampson, baritone) PROGRAM#: NYP 20-28 RELEASE DATE: April 1, 2020 Bernstein Conducts Bernstein BERNSTEIN: Chichester Psalms (World Premiere performance) (Leonard Bernstein, conductor; Camerata Singers, dir. Abraham Kaplan; John Bogart, boy alto) BERNSTEIN: Kaddish, Symphony No.3 (Leonard Bernstein, conductor; Camerata Singers, dir. Abraham Kaplan; Columbus Boychoir, dir. Donald Bryant; John Bogart, boy alto; Felicia Montealegre, speaker; Jennie Tourel, mezzo-soprano) BERNSTEIN: Suites 1 and 2 from the Dybbuk (Leonard Bernstein, conductor; Paul Sperry, tenor; Bruce Fifer, bass- baritone) PROGRAM#: NYP 20-29 RELEASE DATE: April 8, 2020 American Works: Gershwin, Russo, Ellington, and Copland GERSHWIN: Porgy and Bess (selections) (recorded 1954) (André Kostelantetz, conductor) RUSSO: Symphony No. 2, “Titans” (recorded 1959) (Leonard Bernstein, conductor; Maynard Ferguson, trumpet) ELLINGTON/ Marsalis: A Tone Parallel to Harlem (recorded 1999) (Kurt Masur, conductor; Jazz at Lincoln Center Orchestra, Wynton Marsalis, artistic director & trumpet) COPLAND: The Tender Land (abridged) (recorded 1965) (Aaron Copland, conductor; Joy Clements, soprano; Claramae Turner, mezzo-soprano; Richard Cassilly, tenor; Richard Fredricks, baritone; Norman Treigle, bass; Choral Art Society, dir. -
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
Lessons in Love and Violence - George Benjamin / Martin Crimp
Lessons in Love and Violence GEORGE BENJAMIN MARTIN CRIMP Temporada 2020-2021 Temporada Con el apoyo exclusivo de: Lessons in Love and Violence - George Benjamin / Martin Crimp Volver al índice Patronato de la Fundación del Gran Teatre del Liceu Comisión ejecutiva de la Fundación del Gran Teatre del Liceu Presidente de honor Presidente President de la Generalitat de Catalunya Salvador Alemany Mas Presidente del patronato Vocales representantes de la Generalitat de Catalunya Salvador Alemany Mas Àngels Ponsa Roca, Lluís Baulenas Cases Vicepresidenta primera Vocales representantes del Ministerio de Cultura y Deporte Àngels Ponsa Roca Amaya de Miguel Toral, Antonio Garde Herce Vicepresidente segundo Vocales representantes del Ayuntamiento de Barcelona Andrea Gavela Llopis Joan Subirats Humet, Marta Clarí Padrós Vicepresidente tercero Vocal representant de la Diputació de Barcelona Joan Subirats Humet Joan Carles Garcia Cañizares Vicepresidenta cuarta Vocales representantes de la Societat del Gran Teatre del Liceu Núria Marín Martínez Javier Coll Olalla, Manuel Busquet Arrufat Vocales representantes de la Generalitat de Catalunya Vocales representantes del Consejo de Mecenazgo Lluis Baulenas Cases, Irene Rigau Oliver, Rosa Tubau LLorià, Luis Herrero Borque, Elisa Durán Montolío Angels Barbara Fondevila Secretario Vocales representantes del Ministerio de Cultura y Deporte Joaquim Badia Armengol Javier García Fernández, Amaya de Miguel Toral, Joan Francesc Director General Marco Conchillo, Santiago de Torres Sanahuja Valentí Oviedo Cornejo Vocales -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee. -
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development. -
Committee to Propose Tntercultural Studies'
VOL. LXIX, ISSUE NO. 42 TRINITY COLLEGE, HARTFORD Tuesday, April 20, 1971 Committee to Propose Tntercultural Studies' by Susami;ah Heschel The Joint Educational Polich Committee Black Studies program by September, 1971, will present a proposal for an "Intercultural and recommended that Black students play Studies" program at the Faculty meeting a significant role in the preparation of the this afternoon. budget and selection of the Faculty for the The proposed will include in- program. terdisciplinary programs such as Non- The TCC refused to endorse the specific Western Studies, Black Studies and Latin proposals, of Gaston and White that called American Studies. The "initial emphasis" for a Black Studies director and additional of a program will be to establish "an Faculty for the program, and for a series of adequate set of courses dealing with the "core" Black Studies courses. The Council history and culture of Blacks, especially in felt that such specific aspects should be Africa and the Americas," according to the worked out by the Curriculum Committee. report of the faculty-trustee committee. Barthwell said in an interview Sunday, The proposal will be presented to the "We hope that part of their (the Faculty's) Faculty for discussion at the'meeting this discussion will be addressed to us. Other- afternoon. The Faculty will vote on the wise, we will deal with them at their level." proposal at its meeting in May. Barthwell said that no members of TCB had The committee, which consists of 5 been invited by the Educational Policy faculty, (i trustees, President Lockwood, and committee to work on the report. -
Luisa Miller
GIUSEPPE VERDI LUISA MILLER FUNCIÓN HISTÓRICA - 1979 RENATA SCOTTO STREAMING METROPOLITAN OPERA HOUSE Presenta GIUSEPPE VERDI LUISA MILLER Ópera en tres actos Libreto de Salvatore Cammarano basado en la tragedia “Kabale und Liebe” (Intriga y amor) de Friedrich von Schiller. Reparto Luisa Renata Scotto Rodolfo Plácido Domingo Miller Sherrill Milnes Conde Walter Bonaldo Giaiotti Federica Jean Kraft Wurm James Morris Coro y Orquesta del Metropolitan Opera House Dirección: James Levine Producción escénica Dirección teatral Nathaniel Merrill Escenografía Attilio Colonnello Vestuario Charles Caine Coreografía Thomas Andrew Dirección de TV Kirk Browning Domingo 16 de agosto de 2020 Transmisión vía streaming desde Metropolitan Opera House – New York, USA TEATRO NESCAFÉ DE LAS ARTES Temporada 2020 LUISA MILLER ANTECEDENTES Cuando en 1842 Giuseppe Verdi estrenó “Nabucco”, su tercera opera, el enorme éxito que lo acompañó marcó el gran des- pegue de su carrera y el comienzo de una vertiginosa etapa creativa inicial que sólo en esa década vio el surgimiento de otras once óperas. Entre ellas hubo triunfos resonantes, como el propio “Nabucco”, “Ernani” y “Macbeth”, pero también de aquel perío- do datan las óperas verdianas menos exi- tosas y de menor trascendencia, entre ellas “Juana de Arco”, “Alzira”, “El corsario” y “La batalla de Legnano”. Para contextualizar “Luisa Miller” en el tiempo señálese que con su estreno en di- ciembre de 1849 esta ópera cerró esa hipe- ractiva década. Muy pocos años después, entre 1851 y 1853, vería la luz la célebre trilogía de “Rigoletto”, “El trovador” y “La Giuseppe Verdi traviata”. En agosto de 1848, antes de estrenar “El Ante la inesperada mala noticia el empre- corsario”, Verdi comunicó por escrito desde sario napolitano se disgustó y, no estando París al Teatro San Carlos de Nápoles su de- Verdi a mano, arremetió contra Cammara- cisión de cancelar un contrato firmado ha- no, amenazándolo judicialmente, porque cía tres años para proveer una nueva ópera también él no estaría cumpliendo con lo con libreto de Salvatore Cammarano. -
Phd April 2019 Pp
The University of Adelaide Elder Conservatorium of Music Faculty of Arts Revisiting George Enescu’s 1921 Bucharest Recital Series: a performance-based investigation with recordings and exegesis. by Elizabeth Layton submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) Adelaide, April 2019 Table of Contents Abstract 5 Declaration 6 Acknowledgements 7 List of Musical Examples 8 List of Tables 11 Introduction 12 PART A: Sound recordings 22 A.1 CD 1 Tracks 1-4 Pierre de Bréville, Sonata no. 1 in C # minor 39:17 Tracks 5-8 Gabriel Fauré, Sonata no. 1 in A major, Op. 13 26:14 A.2 CD 2 Tracks 1-4 André Gédalge, Sonata no. 1 in G major, Op. 12 23:39 Tracks 5-7 Claude Debussy, Sonata in G minor (performance 1) 13:44 Tracks 8-10 Claude Debussy, Sonata in G minor (performance 2) 13:36 A.3 CD 3 Tracks 1-3 Ferruccio Busoni, Sonata no. 2 in E minor, Op. 36a 34:25 Tracks 4-7 Zygmunt Stojowski, Sonata no. 2 in E minor, Op. 37 29:30 A.4 CD 4 Tracks 1-4 Louis Vierne, Sonata in G minor, Op. 23 32:44 Tracks 5-7 Stan Golestan, Sonata in E flat major 26:56 Tracks 8-10 George Enescu, Sonata in F minor, Op. 6 22:34 PART B: Exegesis Chapter 1 George Enescu: Musician, and his path to the 1921 Bucharest Recital Series 27 1.1 Understanding the context and motivation behind the series 35 2 Chapter 2 The 1921 Bucharest Recital Series 38 2.1 Recital 1: Haydn, d’Indy, Bertelin 38 2.2 Recital 2: Mozart, Busoni, Vierne 39 2.3 Recital 3: Sjögren, Schubert, Lauweryns 41 2.4 Recital 4: Weingartner, Stojowski, Beethoven 42 2.5 Recital 5: Bargiel, Haydn, Golestan 42 2.6 Recital 6: Le Boucher, Mozart, Saint-Saëns 43 2.7 Recital 7: Gédalge, Dvorák, Debussy, Schumann 44 2.8 Recital 8: Huré, Bach, Lekeu 45 2.9 Recital 9: Beethoven, Fauré, Franck 46 2.10 Recital 10: Gallon, de Bréville, Beethoven 48 2.11 Recital 11: Magnard, Le Flem, Brahms 49 2.12 Recital 12: Franck, Enescu, Beethoven 49 Chapter 3 Performance notes on nine sonatas selected from the 1921 Bucharest Recital Series 3.1 Pierre de Bréville, Sonata no. -
A Study of Suffering in T~E Thought of S0ren Kierkegaard
A STUDY OF SUFFERING IN T~E THOUGHT OF S0REN KIERKEGAARD BY EDWARD ERIC IVOR GLASS SUBMITTED IN PART FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE DEPARTMENT OF SCIENCE OF RELIGION IN THE FACULTY OF ARTS AT THE UNIVERISTY OF DURBAN-WESTVILLE Supervisors Professor G.C. Oosthuizen Professor R. Singh DATE SUBMITTED 1 NOVEMBER 1987 CONTENTS Introduction The goal in truth through suffering The diale~tic - accepted choice through freedom 2 Examples, identification 3 Relevance of suffering .> .' 4 Impact 5 Life-long dimension 6 ~he individual in the moment 7 Understanding the ever-present immediacy of Suffering 8 Hum i I i ty 9 Loneliness 10 ~Challenge 11 S.K. the missioner. Hegel 12 S.K. the Catalyst 13 ;. S. K• and the Church 14 The enigmatic believer 16 :Suffering and the reader 18 ·Subjective action. The risk 19 Chapter 1. Kierkegaard's background. Influences on him. The development of thought amongst his precursors 22 The personal/emotional background Early years 23 Thought development 24 The Corsair 25 Attacks on Church .... death 26 The philosophical background 27 The individual - guilt The time factor 28 Inwardness 30 CONTENTS The precursors: 37 Pascal 38 Hume 43 Kant 46 Hamann 48 Hegel 51 Schleiermacher 58 von Schelling 60 Lessing 64 von Badaar 66 Locke 67 Voltaire 68 Socrates 69 Luther 69 The Bible 71 Phenomenology 73 Early tension 75 The melancholy youth 76 Angst 77 Maturing 78 The Student 79 Distrust develops 80 The Stages 81 The revelation of his prayers 83 Genuine existential suffering and love 85-87 Indirect Communication and the mystical 89 Presentiment 91 Blessed misery. -
Symposium Records Cd 1156
SYMPOSIUM RECORDS CD 1156 The GREAT VIOLINISTS – Volume VII SHIN-ICHI SUZUKI GEORGE ENESCO JAQUES THIBAUD ZINO FRANCESCATTI At first glance there may appear to be little connection between the four composers on this disc other than their Gallicism, and even that may be disputed in the case of César Franck who was French only by adoption. Certainly there could hardly be a wider contrast of aims and ideals than between Franck, the priest of High Seriousness, and Ravel, the advocate of "le plaisir...d'une occupation inutile". Yet there are important, if unobvious, links. Franck and Fauré were the architects of the revival of French chamber music, and between them inspired what were to become the two main traditions of the late 19th/early 20th century. Chausson was a pupil of Franck, Ravel of Fauré. There is a link, too, in the dedications of two of the works. César Franck dedicated his Sonata to Eugène Ysaÿe as a wedding gift and, we are told, when it was presented to him at a banquet, so moved was he that he performed it, then and there. Chausson's Poème, too, is dedicated to Ysaÿe. After one run-through with piano and one rehearsal with orchestra he gave this piece too, its first performance. (One might add, on a more gruesome note, that both Franck and Chausson died as a result of vehicular accidents: Franck struck by the pole of a horse-omnibus, Chausson thrown over the handlebars of his bicycle.) The distinguished violinists on this disc between them have provided us with a recital of four masterworks from the French violin repertoire.