Stanislas De Barbeyrac, Born in 1984, Studied at the Music Conservatory in Bordeaux and at the Opera Studio of the Paris National Opera from 2008 to 2010

Total Page：16

File Type：pdf, Size：1020Kb

Stanislas De Barbeyrac, Born in 1984, Studied at the Music Conservatory in Bordeaux and at the Opera Studio of the Paris National Opera from 2008 to 2010

Saverio Clemente Andrea De Amici Luca Targetti Stanislas de Barbeyrac, born in 1984, studied at the Music Conservatory in Bordeaux and at the Opera Studio of the Paris National Opera from 2008 to 2010. In the same period, he performed in: Salomé (Slave) in Toulouse, La Traviata (Gastone), Rigoletto (Borsa) at The Chorégies d'Orange, Manon Lescaut (Edmond) in Nice, Fenelon’s Faust, Mirandolina (Fabrizio) and King David (concert) at the Paris National Opera, Britten’s Illuminations in Lille, Fidelio (Jacquino) in Tours, Lucia di Lammermoor (Arthur) in Metz, I Pagliacci (Beppe) in Marseille, his first Così Fan Tutte (Ferrando) in Libourne, Aucassin et Nicolette (title role) with the Orchestre de Pays de Savoie (CD recording), and Eugene Onegin (Lenski) with J.F. Zygel at the Théâtre du Châtelet in Paris. Mr. De Barbeyrac debuts the 2011/12 season at the Paris National Opera with Salomé (Narraboth) and Tannhäuser (Walther von der Vogelweide ), followed by: Carmen (Don José - excerpts in concert) at the 1st Ninon Vallin Festival; The Creation at La Sorbonne in Paris; Stanislas de Eugene Onegin on an European tour with the Opéra-Eclaté; Tristan und Isolde in Nice; Othello (Cassio) in Toulon; and a Recital in Bordeaux. Barbeyrac Tenor He has obtained numerous awards, including: 1st Prize at oth Beziers and Marmande International Competitions; Carpeaux Prize in Paris; and the A.R.O.P. Prize from the Paris National Opera in November 2010. He is also a laureate of the 2011 Queen Elisabeth International Competition. Recently he debuted in France in Poliuto (Nearco), in Les Dialogues des Carmelites (Chevalier de la Force), in La Traviata (Alfredo) and in Romeo et Juliette (Tybalt). Among his recent and future engagements: Alceste (Evander) at Opera National de Paris, Mozart's Requiem al Theatro Municipal de Sao Paulo, L'enfance du Christ in Utrecht, Tristan und Isolde (Steuermann/Hirt) at Opera National de Paris, his debut as Tamino in Die Zauberflöte in Anger, Salome (Narraboth) at Theatro Municipal of Sao Paulo, Idomeneo (Arbace) at Royal Opera House, La belle Hélène (Paris) in Avignon, Alceste (Admethe) at Opera National de Paris, Les Dialogues des Carmelites (Chevalier de la Force) in Amsterdam, Macbeth (Macduff) in Marseille, Le roi Arthus in Paris and Die Schöpfung in Salzburg. December 2015 InArt Management Via San Gregorio 53, 20124 Milano Tel. +39 02 97 37 41 66 / Fax +39 02 97 37 42 33 [email protected] www.inartmanagement.com .

Copy Link

Recommended publications

Jules Massenet Werther Nedjelja, 16
Jules Massenet WERTHER Nedjelja, 16. ožujka 2014., 18 sati. Foto: Metropolitan opera Jules Massenet WERTHER Nedjelja, 16. ožujka 2014., 18 sati. SNIMKA THE MET: LIVE IN HD SERIES IS MADE POSSIBLE BY A GENEROUS GRANT FROM ITS FOUNDING SPONZOR Neubauer Family Foundation GLOBAL CORPORATE SPONSORSHIP OF THE MET LIVE IN HD IS PROVIDED BY THE HD BRODCASTS ARE SUPPORTED BY Jules Massenet WERTHER Opera u četiri čina Libreto: Edouard Blau, Paul Milliet i Georges Hartmann prema romanu u pismima Patnje mladog Werthera Leiden des jungen Werthers Johanna Wolfganga von Goethea NEdjEljA, 16. OžUjkA 2014. POčETAK U 18 SATI. Praizvedba: Dvorska opera, Beč, 16. veljače 1892. Prva hrvatska izvedba: Hrvatsko zemaljsko kazalište, Zagreb, 29. listopada 1901. Prva izvedba u Metropolitanu: 29. ožujka 1894. Premijera ove produkcije: 18. veljače 2014. CHARLOTTE Sophie Koch SCHMIDT Tony Stevenson SOPHIE Lisette Oropesa JOHANN Philip Cokorinos WERTHER Jonas Kaufmann KÄTCHEN Maya Lahyani ALBERT David Bizic SOLISTI Dječji zbor Metropolitana NačeLNIK /LE BAILLI Jonathan Summers ZBorovođa Anthony Piccolo Foto:Metropolitan opera ORKESTAR METROPOLITANA OBLIKOVATELJ RASVJETE Peter Mumford DIRIGENT Alain Altinoglu VIDEO PROJEKCIJE Wendall Harrington REDATELJ Richard Eyre KOREOGRAFKINJA Sara Erde SCENOGRAF I KOSTIMOGRAF Rob Howell Stanka nakon drugoga čina. Svršetak oko 21 sat i 15 minuta. Tekst: francuski. Titlovi: engleski. Foto:Metropolitan opera PRVI ČIN – Načelnikova kuća pjevati himnu ljepoti prirode - „O Nature, Prvi čin događa se u idiličnom ugođaju pleine de grâce“ - i sav taj prizor izvrsno Načelnikove kuće u Wetzlaru sedamdesetih odražava idilu iskrenog zanosa. Massenetovi godina 18. stoljeća. Ljeto je. Načelnik s libretisti crpili su nadahnuće za nju iz drugoga najmlađom djecom uvježbava božićne pjesme.
[Show full text]
2Cd Set Songs to the Moon Cd2
2CD SET SONGS TO THE MOON CD2 1 Nocturne, Op. 13 No. 4 MF Samuel Barber [3.32] 2 Sun, Moon and Stars MB Elizabeth Maconchy [3.51] CD1 3 Clair de lune, Op. 83 No. 1 AC Joseph Szulc [3.25] 1 The Night AC Peter Warlock [2.11] 4 Damunt de tu només les flors CM Federico Mompou [4.22] 5 Guitares et mandolines MF Camille Saint-Saëns [1.49] 2 Nächtens, Op. 112 No. 2 MB CM AC MF Johannes Brahms [1.45] 6 Apparition MB Claude Debussy [3.48] 3 Vor der Tür, Op. 28 No. 2 MB MF Johannes Brahms [1.58] 7 La nuit, Op. 11 No. 1 MB MF Ernest Chaussan [2.47] 4 Unbewegte laue Luft, Op. 57 No. 8 MF Johannes Brahms [4.07] 8 L’heure exquise CM Reynaldo Hahn [2.51] 5 Der Gang zum Liebchen, Op. 31 No. 3 MB CM AC MF Johannes Brahms [3.14] 9 La fuite CM MF Henri Duparc [3.15] 6 Walpurgisnacht, Op. 75 No. 4 MB CM Johannes Brahms [1.32] 0 7 Rêvons, c’est l’heure MB CM Jules Massenet [5.04] Ständchen, Op. 106 No. 1 CM Johannes Brahms [1.43] 8 Der Abend, Op. 64 No. 2 MB CM AC MF Johannes Brahms [3.51] q Clair de lune, Op. 46 No. 2 AC Gabriel Fauré [2.56] 9 Vergebliches Ständchen, Op. 84 No. 4 CM MF Johannes Brahms [1.43] w Pleurs d’or, Op. 72 AC MF Gabriel Fauré [2.47] e 0 Tarentelle, Op.
[Show full text]
Cohesion of Composer and Singer: the Female Singers of Poulenc
COHESION OF COMPOSER AND SINGER: THE FEMALE SINGERS OF POULENC DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Susan Joanne Musselman, B.M., M.M. ***** The Ohio State University 2007 Document Committee: J. Robin Rice, Adviser Approved by: Hilary Apfelstadt Wayne Redenbarger ________________________ Adviser Graduate Program in Music Copyright by Susan Joanne Musselman 2007 ABSTRACT Every artist’s works spring from an aspiring catalyst. One’s muses can range from a beloved city to a spectacular piece of music, or even a favorite time of year. Francis Poulenc’s inspiration for song-writing came from the high level of intimacy he had with his close friends. They provided the stimulation and encouragement needed for a lifetime of composition. There is a substantial amount of information about Francis Poulenc’s life and works available. We are fortunate to have access to his own writings, including a diary of his songs, an in-depth interview with a close friend, and a large collection of his correspondence with friends, fellow composers, and his singers. It is through these documents that we not only glean knowledge of this great composer, but also catch a glimpse of the musical accuracy Poulenc so desired in the performance of his songs. A certain amount of scandal surrounded Poulenc during his lifetime and even well after his passing. Many rumors existed involving his homosexuality and his relationships with other male musicians, as well as the possible fathering of a daughter. The primary goal of this document is not to unearth any hidden innuendos regarding his personal life, however, but to humanize the relationships that Poulenc had with so many of his singers.
[Show full text]
Tailor-Made: Does This Song Look Good on Me? the Voices That Inspired Vocal Music History
ABSTRACT Title of Dissertation: TAILOR-MADE: DOES THIS SONG LOOK GOOD ON ME? THE VOICES THAT INSPIRED VOCAL MUSIC HISTORY Theresa Rose Bickham, Doctor of Musical Arts in Vocal Performance, 2019 Dissertation directed by: Professor Carmen Balthrop, School of Music The history of tailor-made repertoire is celebrated, and, in many cases, the composer and the works live on in perpetuity while the performing artist is remembered only in historical documents. Timbres, agilities, ranges, and personalities of singers have long been a source of inspiration for composers. Even Mozart famously remarked that he wrote arias to fit singers like a well-tailored suit. This dissertation studies the vocal and dramatic profiles of ten sopranos and discovers how their respective talents compelled famed composers to create music that accommodated each singer’s unique abilities. The resulting repertoire advanced the standard of vocal music and encouraged new developments in the genres and styles of compositions for the voice. This is a performance dissertation and each singer is depicted through the presentation of repertoire originally created for and by them. The recital series consisted of one lecture recital and two full recitals performed at the University of Maryland, College Park. I was joined in the performance of these recitals by pianist Andrew Jonathan Welch, clarinetist Melissa Morales, and composer/pianist Dr. Elaine Ross. The series was presented chronologically, and the first recital included works of the Baroque and Classical music eras written for Marie Le Rochois, Faustina Bordoni, Catarina Cavalieri, and Adriana Ferrarese del Bene. The second recital advanced into the nineteenth-century with repertoire composed for Anna Milder-Hauptmann, Giulia Grisi, and Mary Garden.
[Show full text]
ARSC Journal
ELISABETH SCHU}~.NN ON THE ART OF SONG INTERPRETATION: MOZART: Das Veilchen; SCHLiF::rr: Lachen unc~ weinen; BRAHMS: Vergebliches Standchen; STRAUSS: Morgen; SCHUBERT: Die Forelle; WOLF: Mausfallen-Spruchlein; In dem Schetteil°meiner Locken (with Ernest Lush, piano) (1950). Pre ceded by MOZART: Il Re pastore--L'amero sero costante; Alleluia (with BBC Symphony; Sir Henry Wood, conductor, 8 September 1936). IGI 274 (Educational Media Association, P. 0. Box 921, Berkeley, California 94701) These lectures have been around before as EJS 328. Schumann opens with some general remarks on singing and teaching in rather quaint but perfectly clear and understandable English. She sings each song through, then offers a few points on interpretation. She places strong emphasis on the importance of the words. There are points about the art of coloring the voice, about breath control and vowel sounds. In Morgen, she says, the singer must be "singing" mentally from the beginning of the prelude, so that when she comes in she is already with it. One remembers her as one of the few singers who really did this. Also in this song, she speaks of the importance of counting the rests in the final lines. Her voice in 1950 was by no means what it had been, but some of the old sparkle was still there, even when the going was not easy. She concludes her talk with encouragement to the young singer - don't worry - have confidence. The lecture is preceded by the Re pastore aria and the Alleluia in a public performance, complete with tumultuous applause. L'amero is less fresh vocally than in her earlier commercial recording; the old radiance is there in the upper voice, but the bottom is rather weak.
[Show full text]
T Reasury O Pera
MANON LESCAUT•MARTHA• MEFISTOFELE• DIE MEISTERSINGER• MIGNON• NORMA• LE NOZZE DI FIGARO• OTELLO• PAGLIACCI I PESCATORI DI PERLE DIE ZAUBERFLÖTE • • PORGY AND BESS THE PRIMA VOCETREASURYTHE PRIMA OFOPERA TWO VOLUME DIE WALKÜRE • • LE POSTILLON DE LONJUMEAU IL TROVATORE • TREASURY TRISTAN UND ISOLDE • • OPERA PRINCE IGOR LA TRAVIATA • • Great Arias in Historic Recordings I PURITANI TOSCA • ARTISTS INCLUDE • CARUSO •CHALIAPIN •FARRAR •TETRAZZINI RIGOLETTO TANNHAÜSER • McCORMACK •PONSELLE •TIBBETT NI 1738NI NI 1738 • RINALDO FIVE DISC SET LA SONNAMBULA ROMEOET JULIETTE•DER ROSENKAVALIER• SADKO• SAMSON ET DALILA• SEMELE• SIMON BOCCANEGRA• THE SNOW MAIDEN MANON LESCAUT•MARTHA• MEFISTOFELE• DIE MEISTERSINGER• MIGNON• NORMA• LE NOZZE DI FIGARO• OTELLO• PAGLIACCI I PESCATORI DI PERLE NI 1738 NI 1738 DIE ZAUBERFLÖTE • PRIMA VOCE • PORGY AND BESS PRIMA VOCE puts the performance first. Our aim in transferring 78s to compact DIE WALKÜRE disc is simple: to allow the full musical enjoyment of these recordings without the • distraction of intrusive surface noise between the performer and the listener. This is achieved by a process which re-records rather than re-masters the original sound. • First, to maintain the original sound, several takes are made of each 78. These LE POSTILLON DE LONJUMEAU takes are then digitally edited together and any intrusive clicks or thumps are IL TROVATORE removed at this stage: the removal is judged by human ear alone, and not with the • TREASURY aid of computer programs or electronic filters. Only mint condition 78rpm pressings manufactured from the finest materials of the time are used for transfer, providing a further, natural reduction in surface noise. The result captures for all time the immediacy of the original performances.
[Show full text]
JULES MASSENET – His Life and Works by Nick Fuller I
JULES MASSENET – His Life and Works By Nick Fuller I. Introduction Jules Massenet’s operas made him one of the most popular composers of the late nineteenth century, his works performed throughout Europe, the Americas and North Africa. After World War I, he was seen as old- fashioned, and nearly all of his operas, apart from Werther and Manon , vanished from the mainstream repertoire. The opera-going public still know Massenet best for Manon , Werther , and the Méditation from Thaïs , but to believe, as The Grove Dictionary of Opera wrote in 1954, that ‘to have heard Manon is to have heard all of him’ is to do the composer a gross disservice. Massenet wrote twenty-seven operas, many of which are at least as good as Manon and Werther . Nearly all are theatrically effective, boast beautiful music and display insightful characterisation and an instinct for dramatic and psychological truth. In recent decades, Massenet’s work has regained popularity. Although he Figure 1 Jules Massenet, drawing by Ernesto Fontana (Source: is not the household name he once http://artlyriquefr.fr/personnages/Massenet%20Jules.html) was, and many of his operas remain little known, he has been winning new audiences. Conductors like Richard Bonynge, Julius Rudel and Patrick Fournillier have championed Massenet, while since 1990 a biennial Massenet festival has been held in his birthplace, Saint-Étienne, in the Auvergne-Rhône-Alpes, its mission to rediscover Massenet’s operas. His work has been performed in the world’s major opera houses under the baton of conductors Thomas Beecham, Colin Davis, Charles Mackerras, Michel Plasson, Riccardo Chailly and Antonio Pappano, and sung by Joan Sutherland, José van Dam, Frederica von Stade, Nicolai Gedda, Roberto Alagna, Renée Fleming, Thomas Hampson and Plácido Domingo.
[Show full text]
Modern Music a Collection of Manuscripts and First & Early Editions
J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 90 | November 2020 modern music a collection of manuscripts and first & early editions 20TH CENTURY PART I MODERN MUSIC a collection of manuscripts and first & early editions 20TH CENTURY PART 1 TABLE OF CONTENTS in order by composer’s surname 1 Auric - Burleigh 11 Castelnuovo-Tedesco - Honegger 21 Jacob - Milhaud 30 Orff - Satie 43 Schoenberg 62 Schoop - Trillat 70 Vaughan WIlliams - Wolfsohn 81 References 82 Conditions of Sale All items in the catalogue include a link to the item’s listing on our website with further details and purchasing options. Please see our Conditions of Sale notice at the back of the catalogue for further information. J & J Lubrano Music Antiquarians LLC 6 Waterford Way Syosset, NY 11791 U.S.A. (516) 922-2192 | [email protected] www.lubranomusic.com Front cover illustration detail from item #5 AURIC - BARTО`K AURIC, Georges 1899-1983 2. 1. Petite Suite [Solo piano] Paris: Heugel [PNs H. 29,832-29,836], 1928. Original publisher’s ivory printed wrappers. Unbound as issued. 15 pp. I. Prélude – II. Danse – III. Vilanelle et Entrée – IV. Sarabande – V. Voltes “Les nos. 2 et 3 sont écrits d’après des pièces de luth polonaises du XVIe siècle.” Wrappers slightly browned and soiled; publisher’s handstamps to upper, “Hommage de l’Editeur” to title. Small hole to pp. 3-4 just touching text. First Edition. Schmidt GA56, I, pp. 282-283. $100 (33799) 2. Printemps [Solo piano] inspired fashion designers including Christian Paris: Durand & Cie [PN D. & F. 12,621], Dior and Elsa Schiaparelli; he also designed 1935.
[Show full text]
191 VOCAL 78 Rpm Discs 2398. 11” Brown Praha Odeon 38539/38519
VOCAL 78 rpm Discs 2398. 11” Brown Praha Odeon 38539/38519 [XV62/Vx497]]. FRÜHLINGSZEIT (Becker) / WLADISLAV FLORIJANSKY [t]. EUGEN ONEGIN: Air (Tschaikowsky). Piano acc. Rare. Speeds 89.7/81.8 rpm, (presuming the key of A). Side one 4-5. Remarkably forward and the graying sounds only a bit. Side one 3-4 (although hardly any graying). Looks considerably worse than it sounds. $50.00. GIUSEPPE PACINI [b]. Firenze, 1862-1910. His debut was in Firenze, 1887, in Verdi’s I due Foscari. In 1895 he appeared at La Scala in the premieres of Mascagni’s Guglielmo Ratcliff and Silvano. Other engagements at La Scala followed, as well as at the Rome Costanzi, 1903 (with Caruso in Aida) and other prominent Italian houses. He also appeared in Mexico and the Phil- lipines. Among the leading baritones of his era, Pacini’s only records were a few for Fonotipia. 9024. 11” Gold SS Fonotipia 39005 [XPh2]. LE ROI DE LAHORE: O casto fior (Massenet). Few MGTs, just about 2. $50.00. REGINA PACINI [s]. Lisbon, 1871-Buenos Aires, 1965. Born of a musical family, Pacini made her debut in 1888 at the San Carlo in Lisbon as Amina in Bellini’s La Sonnambula. She also appeared at La Scala, Covent Garden (with Caruso), Rome, Warsaw and St. Petersburg. In Buenos Aires, 1907, Pacini wed the Argentine Diplomat Marcelo de Alvear and then retired from the stage. From 1922 through 1928 she was first lady of Argentina, her husband having been elected President. Pacini was still living during the reign of another more recognized Argentine presidential wife, Evita Peron.
[Show full text]
9-2019 Printed, Cds, Lps. Pp. 149-170
BOOKS SC = Soft Cover HC = Hard Cover DJ = Includes Dust Jacket . Grading refers to book pages (content): As new; 1-2 (excellent used copy); 2 (minor marks), 3 (problems, described). Dust Jacket problems (if any) are separately mentioned. BOOKS – SINGER A UTOBIOGRAPHIES and BIOGRAPHIES 1000. EMMA ALBANI – Victorian Diva [Cheryl MacDonald]. Dundern Press, Toronto & London, 1984. 205 pp. Illustrated. SC. As new . $7.00. 1001. FRANCES ALDA – Men, Women and Tenors [Frances Alda]. AMS Press, NY, 1971. Reprint from 1937 first ed. 307 pp. Illustrated. HC. As new . $8.00. 1002. MARIAN ANDERSON – A Singer’s Journey [Allan Keiler]. Scribner, 2000. 447 pp. Illustrated. Discography. HC. DJ. As new . $12.00. 1003. BLANCHE ARRAL – The Extraordinary Operatic Adventures of … [trans. Ira Glackens, ed. Wm. Moran]. Amadeus, 2002. 352 pp. Illustrated. Discography (Moran). HC. DJ. As new . $12.00. 1004. GIANNINA ARANGI-LOMBARDI – Voce Maestra [Tulliano Carpino]. Citta’ di Mari- gliano.,1998. 60 pp. Illustrated. Discography. SC. As new . $8.00. 1005. FLORENCE AUSTRAL – When Austral Sang [Michael Elphinstone and Wayne Hancock]. Nat. Lib. Of Australia, 2005. 655 pp. Illustrated. Discography. HC. DJ. As new . $12.00. 1006. FLORENCE AUSTRAL – One of the Wonder Voices of the World [James Moffat]. Currency Press, Sydney, Australia, 1995. 278 pp. Illustrated. Discography. HC. DJ. As new. $8.00. 1007. ISOBEL BAILLIE – Never Sing Louder Than Lovely [Isobel Baillie]. Hutchinson, 1982. 208 pp. Illustrated. Discography. HC. DJ. As new . $10.00. 1008. JANET BAKER – Full Circle-An Auto- biographical Journal [Janet Baker]. MacRae, London, 1982. 260 pp. Illustrated. HC. DJ. DJ 2. Book as new .
[Show full text]
17.5 Vocal Olivero-Z; Potpou.; Cho. 124-169
VOCAL 78 rpm Discs MAGDA OLIVERO [s] 3181. 12” Orange Cetra BB 25049 [2-70329/2-70330-II]. MEFISTOFELE: L’altra notte (Boïto) / ADRIANA LECOUVREUR: Poveri fiori (Cilèa). Orch. dir. A. La Rosa Parodi. Just about 1-2. $35.00. BERNARDO OLSHANSKY [b]. Russia, 1885-Union City, NJ, 25 Jan. 1933. Olshansky left Russia around 1905 as a result of political persecution. He studied in New York City with Giacomo Ginsberg (name changed later to Giacomo Bourg) and subsequently with Louis Simions (?) and made his debut in Monza (Italy) in 1910 as Rigoletto. He appears to subsequently having sung in Torino, 1911, although there is some confusion here. A result of a recital in Boston upon his return (likely in 1910 but possibly 1911) was his being engaged by the Boston Opera for the 1911 season and being sent by a wealthy patroness to Paris for preliminary studies with André Caplet, the noted composer and a conductor with the Boston Opera. Olshansky appeared in Boston in about a dozen roles for two seasons (these including the Jailer in Tosca, Yakuside in Madama Butterfly and Valentin in Faust) and performed in a similar capacity with the Montreal Opera around the same time. After that experience, he seems to have left opera in favor of the recital stage and was heard in New York as a concert singer on a fairly regular basis, mainly at Aeolian and Town Halls. He also appeared successfully in various concert venues throughout the country. The last traced such program was at Town Hall, March 25, 1932.
[Show full text]
Golden Voices (Radio Program) Tapes, 1964-1968
http://oac.cdlib.org/findaid/ark:/13030/kt7x0nb4jd No online items Guide to the Golden Voices (Radio Program) Tapes, 1964-1968. Processed by David Seubert; Department of Special Collections Davidson Library University of California, Santa Barbara Santa Barbara, CA 93106 Phone: (805) 893-3062 Fax: (805) 893-5749 Email: [email protected] URL: http://www.library.ucsb.edu/speccoll/speccoll.html © 2003 The Regents of the University of California. All rights reserved. Guide to the Golden Voices PA Mss 29 1 (Radio Program) Tapes, 1964-1968. Guide to the Golden Voices (Radio Program) Tapes, 1964-1968. Collection number: PA Mss 29 Department of Special Collections Davidson Library University of California, Santa Barbara Contact Information: Department of Special Collections Davidson Library University of California, Santa Barbara Santa Barbara, CA 93106 Phone: (805) 893-3062 Fax: (805) 893-5749 Email: [email protected] URL: http://www.library.ucsb.edu/speccoll/speccoll.html Processors: David Seubert Date Completed: May 1, 2003 Encoded by: David Seubert © 2003 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Golden Voices (Radio Program) Tapes, Date (inclusive): 1964-1968. Collection number: PA Mss 29 Creator: Boucher, Anthony, 1911-1968. Extent: 170 open reel tape recordings Repository: University of California, Santa Barbara. Library. Dept. of Special Collections Santa Barbara, CA 93106 Abstract: Tapes of Anthony Boucher's "Golden Voices" radio program devoted to early 20th century singers, aired on the Pacifica Network from 1964-1968. Physical location: For current information on the location of these materials, please consult the library's online catalog.
[Show full text]