DOCSLIB.ORG

Tristan Uno Isolde

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

SEATTLE OPERA PRESENTS TRISTAN UNO ISOLDE MUSIC AND LIBRETTO BY RICHARD WAGNER Production Sponsor: Kreielsheimer Endowment Fund THIS PRODUCTION OF TRISTAN UNO ISOLDE IS DEDICATED TO THE MEMORY OF PERRY LORENZO Premiere: Munich, Konigliches Hof- und National Theater, June 10, 1865 Seattle Opera Premiere: March 18, 1981 Performed at Marion Oliver McCaw Hall: July 31, August 4,7,12, 15m, 18, and 21, 2010 In German with English captions. Evening performances begin at 6:30 p.m. Matinee begins at 2:00 p.m. Latecomers will not be seated during the music. Act I: 79 minutes. Intermission: 30 minutes. Act II: 64 minutes, Intermission: 27 minutes. Act III: 71 minutes. Speight Jenkins. General Director Asher Fisch • Principal Guest Conductor Conductor Asher Fisch Stage Director Peter Kazaras Set and Costume Designer Robert Israel Lighting Designer Duane Schuler Hair and Makeup Designer Joyce Degenfelder English Captions Jonath~n Dean Cast (in order of vocal appearance) Sailor/Shepherd Simeon Esper Isolde Annalena Persson t* Brangiine Margaret Jane Wray Kurwenal Greer Grimsley Tristan '€'Ii'f16fi For6jg"4 AVA JIVJ Melot Jason Collins King Marke Stephen Milling Steersman Barry Johnson Assistant Conductor Philip A. Kelsey Assistant Director Jeffrey Buchman Chorusmaster Beth Kirchhoff Musical Preparation Philip A. Kelsey, David McDade, Jay Rozendaal Associate Lighting Designer Connie Yun Stage Manager Yasmine Kiss t Seattle Opera debut * U.S. debut Inspiration for this production derived in part from the short story "An Occurrence at Owl Creek Bridge" by Ambrose Bierce. To read the story, visit seattleopera.orgltristan and click on Director's Notes. Clifton Forbis's performances are made possible by generous financial support from the James and Sherry Raisbeck Lead Singers' Fund. Greer Grimsley's performances are made possible by generous financial support from Jonathan and Patricia Caves. Holztrompete courtesy of the Joe and Joella Utley Brass Instrument Collection at the National Music Museum, The University of South Dakota, Vermillion. Costumes executed by Seattle Opera. English captions by Jonathan Dean © Seattle Opera 2010. Opera presentation and production © Seattle Opera 2010. Copying of any performance by camera, audio, or video recording equipment, and by any other copying device, and any other use of such copying devices during the performances is prohibited. Seattle Opera's 2010/11 season is sponsored by Performances of Tristan und isolde are made possible in part by generous grants from 4Culture; ArtsFund; C. E. Stuart Charitable Trust; National Endowment for the Arts; Nes~olm Family Foundation; PONCHO; the James and Sherry Raisbeck Lead Singers' Microsoft' Fund; Seattle Office of Arts & Cultural Affair'S; Washington State Arts Commission. The Cast , (in order of vocal appearfjnce) Das Rheingold Woglinde Julianrie Gearhart Wellgunde Michele Losier Flosshilde JennifEjr Hines Alberich Richarlrt Paul Fink Fricka Stepha~ie Blythe Wotan Greer Grimsley Freia Marie Piette Fasolt Andre~ Silvestrellit Fafner Daniel',Sumegi Froh Jason Collins Donner Gordon Hawkins Loge Kobie van Rensburgt Mime Dennis Petersent Erda Maria $treijffertt Das Rheingo/d runs from 7:00 to 9:30 p.m. with no intermission. Die WalkOre Siegmund Stuart Skeltont Sieglinde Margar,-et Jane Wray Hunding AndreC1 Silvestrelli Wotan Greer Grimsley BrOnnhilde Janice Baird Fricka Stephanie Blythe Gerhilde Miriam Murphyt Helmwige Sally Wolf Waltraute Luretta Bybee Schwertleite Jennifer Hines Ortlinde Marie Piette Siegrune Sarah Heltzel Grimgerde Michele Losier Rossweisse Maria Streijffert Die Wa/kilre runs from 6:00 to 10:35 p.m., including two intermissions. Siegfried Mime Denni~ Petersen Siegfried Stig Andersent The Bear JC Casiano The Wanderer Greer Grimsley Alberich Richard Paul Fink Fafner Daniel Sumegi Forest Bird Julianne Gearhart Erda Maria ptreijffert Brunnhilde Janice Baird Horn Call Mark Robbins Siegfried runs from 6:00 to 11 :00 p.m., in~luding two intermissions. G6tterdammerufjg First Norn Luretta Bybee Second Norn Stephanie Blythe Third Norn Margaret Jane Wray Brunnhilde Janice; Baird Siegfried Stig Andersen Gunther Gordon Hawkins Hagen Daniel'Sumegi Gutrune Marie piette Waltraute Steph~nie Blythe Alberich Richa~d Paul Fink Woglinde JUlianpe Gearhart Wellgunde Michele Losier Flosshilde Jennif~r Hines Gotterdammerung runs from 6:00 to 11:20 p.rri., including two intermissions. tSeattie Opera debut The Metropolitan Opera 2008-09 Season The 152nd Metropolitan Opera performance of Richard Wagner's Das Rheingold Conductor ---:ffi ffie5 Lev-ifl€- IN ORDER OF VOCAL APPEARANCE Woglinde Fafner Lisette Oropesa* John Tomlinson Wellgunde Froh Kate lindsey* Garrett Sorenson* Flosshilde Donner Tamara Mumford* Charles Taylor* Alberich Loge Richard Paul Fink Kim Begley Fricka Mime Yvonne Naef Dennis Petersen Wotan Erda James Morris Wendy White This performance Freia is being broadcast Wendy Bryn Harmer* live on Metropolitan Opera Radio on Fasolt SIRIUS channel 78 Rene Pape and XM channel 79. Thursday, April 23, 2009, 8:00-10:3Spm The Opera The 449th Metropolitan Opera performance of Richard Wagner's Tristan und Isolde Conductor James Levine IN ORDER OF VOCAL APPEARANCE A Sailor's Voice King Marke Tony Stevenson Matti Salminen Isolde A Shepherd Deborah Voigt Mark Schowalter Brangane A Steersman Margaret':J..e VVray James Courtney K~~~ It-k d~ Eike Wilm Schulte English horn solo Tristan Pedro R. Diaz Ben Heppner Melot Deborah Voigt's Stephen Gaertner performance is underwritten by the Annenberg Principal Artist Fund. Friday, March 2B, 200B, 7:00-11:55pm J,\OPERA Placido Domingo, General Director • Kent Nagancl, Music Director Edgar Baitzel, Artistic Director • Elizabeth Kennedy, Jffministrative Director presents 1 RICHARD WAGNER : PARSIFAU Libretto by the composer 1 Cast (in order ofvocal appearance) CONDUCTOR Parsifal Placido Domingo The running time is Kent Nagano approximately four hours GumemaT!? Matti Salminen DIRECTION, SCENIC DESIGN, and twenty-five minutes, LIGHTING DESIGN which includes two twenty­ Amfortas Albert Dohmen Robert Wilson minute internlissions. STACE DIRECTOR Kundry Linda Watson Nicola Panzer Used by arrangement with Klingsor Hartmut Welker European American Music SET DESIGNER Distributors LLC, sale U. S. Stephanie Engeln Titurel James Creswell and Canadian agent for LIGHTING DESIGNER First Knight Vale Rideout Schott Musik International. AJ. Weissbard Second Knight Dean Elzinga LOS ANGELES OPERA Supertitles written by CONCERTMASTER Christopher Bergen; Stuart Canin First Esquire SarahJ ane McMa~on cued by Linda Zoolalian. LOS ANGELES OPERA Second Esquire Patricia Risley CHORUS MASTER Pre-performance lectures William Vendice Third Esquire David Robinson by Michael Hackett. ARTISTIC DIRECTOR, LOS ANGELES CHILDREN'S CHORUS Fourth Esquire Peter Nathan Foltz Pre-performance lectures Anne Tomlinson ~ are generously sponsored by A Voice Margaret Thomp~on the Flora L. Thornton Foundation and the Opera Original co-production of the Flower Maidens Abbie Furmansk~ Hamburg State Opera and League of Los Angeles. Jessica Swink ! Houston Grand Opera. ~ Additional set construction by Patricia Risley RA. Reed Productions, Inc., Martina Riiping Portland, Oregon. Additional SarahJane McM~on I 1 costumes by Los Angeles Opera Margaret Thomp~on Costume Shop. Wigs constructed by the Los Angeles Opera Wig DepartInent. Artists subject to change. j .( New production made possible by a gene1pus gift from The Eli and Edythe L. Broad F1undation. j Latecomers will be seated at the discretion of the house management. Members of ~he audience who leave during the perfonnance will not be shown back into the theater until the next intennission. The use of cameras an4 recording equipment is strictly prohibited. Please turn off all beepers, watch alarms and cellular phones.Your use of a ticket acknowledges yourlwillingness to appear in photographs taken in public areas of the Music Center and releases the Center and its lessees and others from ~ability resulting from use of such photographs. Any microphones on stage are for recording purposes only; they ~re not used for amplification. ~ PERFORMANCES MAGAZINE P3 i\:':·Mi~IiJ~~f;[ji$~n"fiom~s •••,·.condlJctlng i',,';·,<:../'·:.···;:i,<,:'::',:':~: '::"::"::';'_';'\:;:,"::", ",',"",,' - ',',:' , "- ..-, ,'. ·...··" ..,,-c.... · . ,. 'ActtXfjotd:~~: tpB. Norway coaSt ~iii1itl~ry, j n t e rmi ssi 0 n 0E:';Jill~rqye ... Mary.".>..' ." '}Xctu: Daland'shouse .\;k;j~fle Eaglen Senta" .... ...•... ..... 'f;.Ua..lt Bal~el" Ep~ l'.'" .··.•···f·dA . "Acflll: The rocky. shore ?iii? ~~::tl(>r,\~;?->;;;~1"'U 0 1])( <,$iinJ:ran<risco,SYQ1pnony ChOl"us First San Francisco SYmphllny Pen?rr1:,mces i;\~Vaf)~' GebTg~ "Bir~tt9r .' Inside Music talk J:>v Steph~1'1 Hinton i,~~t¢~M(:Cli~tcfC?k .S:f~9~[)lr~dtbr •...i:< one hour prior to performances .'. ti~sjg~'bY:David Finn antiDaniel Hubp . ",:;~"';'. "··C.' .- .~~'" ':--. ".- -- \"'llli~f~~IV<3ti~~fu~#~P?SSible by the leadership support ofthe Ira ;;lncl. Leonore Gershwi~ . "Phil<lJ1thrqpicftmdandby generous grants from the National Endowmentfor the Arts a},dthe .Phyllis Wattis Fund for Artistic Creativity' - ~ These performancesare made possible by a generoUsgiftfrom Barbro and Bernard Os~er. MarkDelaV?n'S ap~earance iSm~dHPQSQblebythejamesl{ScnwabaCher, Jr. Vocal Arti~ Fund. SUpertitr~§bYQ1ristQPh~rBergen •.'C!Q~rt~~YSan Fr~~CjScoOpera. -, ,-~.. ,,-- ." .. -~.: :,", ;'.',. ":'.;,~ ·<....··~,::'X:. -' p A R s I F A L MU~iknli5chc Lcifllllg Daniel Barenboim lustcllicrllllg Harry Ku p fc r 13 OHNENWEIHFESTSPI EL nii
Recommended publications
  • Don Giovanni Sweeney Todd

    Don Giovanni Sweeney Todd

    FALL 2019 OPERA SEASON B R AVO Don Giovanni OCTOBER 19-27, 2019 Sweeney Todd NOVEMBER 16-24, 2019 2019 Fall Opera Season Sponsor e Katherine McGregor Dessert Parlor …at e Whitney. Named a er David Whitney’s daughter, Katherine Whitney McGregor, our intimate dessert parlor on the Mansion’s third oor features a variety of decadent cakes, tortes, and miniature desserts. e menu also includes chef-prepared specialties, pies, and “Drinkable Desserts.” Don’t miss the amazing aming dessert station featuring Bananas Foster and Cherries Jubilee. Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit Pre- eater Menu Available on performance date with today’s ticket. Choose one from each course: FIRST COURSE Caesar Side Salad Chef’s Soup of the Day e Whitney Duet MAIN COURSE Grilled Lamb Chops Lake Superior White sh Pan Roasted “Brick” Chicken Sautéed Gnocchi View current menus DESSERT and reserve online at Chocolate Mousse or www.thewhitney.com Mixed Berry Sorbet with Fresh Berries or call 313-832-5700 $39.95 4421 Woodward Ave., Detroit e Katherine McGregor Dessert Parlor …at e Whitney. Named a er David Whitney’s daughter, Katherine Whitney McGregor, our intimate dessert parlor on the Mansion’s third oor features a variety of decadent cakes, tortes, and miniature desserts. e menu also includes chef-prepared specialties, pies, and “Drinkable Desserts.” Don’t miss the amazing aming dessert station featuring Bananas Foster and Cherries Jubilee. Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit Pre- eater Menu Available on performance date with today’s ticket.
  • Parsifal and Canada: a Documentary Study

    Parsifal and Canada: a Documentary Study

    Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article.

  • UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At

    UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat.

  • ARSC Journal

    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
  • A1ib000000d8uszaaz.Pdf

    A1ib000000d8uszaaz.Pdf

    KOOR EN ORKEST VAN DE MUNT Ver A i U I T DE MUNT 14 J A N U A R I 92 KOOR EN ORKEST VAN DE MUNT muzikale leiding Antonio Pappano koorleider Johannes Mikkelsen Solisten Margaret Jane Wray, sopraan Florence Quivar, mezzo Richard Greager, tenor Carlo Colombara, bas P rogr a mma GIUSEPPE VERDI (1813-1901) MESSA DA REQUIEM Requiem en Kyrie (a quattro voci soliste e coro) Dies Irae Dies Irae (coro) Tuba mirum (basso e coro) Liber scriptus (mezzosoprano e coro) Quid sum mlser (soprano, mezzosoprano e coro) Rex tremendae (quartetto e coro) Recordare (soprano e mezzosoprano) Ingemisco (solo pet tenore) Confutatis (basso e coro) Lacrymosa (quartetto e coro) Domine Jesu (offertorio a quattro voci soliste) Sanctus (fuga a due cori) Agnus Dei (soprano, mezzosoprano e coro) Lux Aeterna inleidend gesprek door Magda de Meester Foyer 19.15 uur (mezzosoprano, tenore e basso) aanvang concert 20.00 uur Libera Me geen pauze (soprano e coro) einde concert omstreeks 21 .30 uur ANTONIO PAPPANO Antonio Pappano werd in Londen geboren uit Italiaanse ouders. Hij studeerde piano, compositie en orkestdirectie bij Norma Verrilli, Arnold Franchetti en Gustav Meier. Van in het begin van zijn carrière ontwikkelde Antonio Pappano een liefde voor opera en theater. Hij heeft in talrijke operahuizen gewerkt, zoals de New York City Opera, de Opera van San Diego, het Liceu in Barcelona en de Opera van Frankfurt. Hij onderhield nauwe banden met de Lyric Opera van Chicago en het Festival van Bayreuth waar hij assistent was van Daniel Barenboim voor 'Tristan und Isolde', 'Parsifal' en de 'Ring des Nibelungen'.
  • Verdi Week on Operavore Program Details

    Verdi Week on Operavore Program Details

    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
  • Biographies (396.2

    Biographies (396.2

    ANTONELLO MANACORDA conducteur italien • Formation o études de violon entres autres avec Herman Krebbers à Amsterdam o puis, à partir de 2002, deux ans de direction d’orchestre chez Jorma Panula. • Orchestres o 1997 : il crée, avec Claudio Abbado, le Mahler Chamber Orchestra o 2006 : nommé chef permanent de l’ensemble I Pomeriggi Musicali à Milaan o 2010 : nommé chef permanent du Kammerakademie Potsdam o 2011 : chef permanent du Gelders Orkest o Frankfurt Radio Symphony, BBC Philharmonic, Mozarteumorchester Salzburg, Sydney Symphony, Orchestra della Svizzera Italia, Scottish Chamber Orchestra, Stavanger Symphony, Swedish Chamber Orchestra, Hamburger Symphoniker, Staatskapelle Weimar, Helsinki Philharmonic, Orchestre National du Capitole de Toulouse & Gothenburg Symphony • Fil rouge de sa carrière o collaboration artistique de longue durée avec La Fenice à Venise • Pour la Monnaie o dirigeerde in april 2016 het Symfonieorkest van de Munt in werk van Mozart en Schubert • Projets récents et futurs o Il Barbiere di Siviglia, Don Giovanni & L’Africaine à Frankfort, Lucio Silla & Foxie! La Petite Renarde rusée à la Monnaie, Le Nozze di Figaro à Munich, Midsummer Night’s Dream à Vienne et Die Zauberflöte à Amsterdam • Discographie sélective o symphonies de Schubert avec le Kammerakademie Potsdam (Sony Classical - courroné par Die Welt) o symphonies de Mendelssohn également avec le Kammerakademie Potsdam (Sony Classical) • Pour en savoir plus o http://www.inartmanagement.com o http://www.antonello-manacorda.com CHRISTOPHE COPPENS Artiste et metteur
  • Wagner Inlay 10/6/04 10:43 Am Page 1 NAXOS

    Wagner Inlay 10/6/04 10:43 Am Page 1 NAXOS

    555789 Wagner inlay 10/6/04 10:43 am Page 1 NAXOS The present recording of scenes from Tristan und Isolde and of the Immolation Scene from Götterdämmerung features three distinguished interpreters of Wagner, acclaimed for performances in the major opera houses of Europe and America. Margaret Jane Wray has performed with some of the most important musical figures of our day, including Daniel Barenboim, Maris Janssons and Seiji Ozawa and 8.555789 enjoys a busy career as a concert artist in addition to her varied operatic performances. Included on this WAGNER: disc is the rarely recorded 1862 concert ending to the Love Duet from Tristan und Isolde. DDD Richard 8.555789 WAGNER Playing Time (1813-1883) 76:39 Scenes from Tristan and Götterdämmerung TRISTAN UND ISOLDE, ACT 2, SCENES 1 & 2 7 Isolde . Margaret Jane Wray, Soprano 47313 Tristan . John Horton Murray, Tenor Brangäne . Nancy Maultsby, Mezzo-Soprano 1 Einleitung (Introduction) 1:58 ! O sink hernieder, Nacht der Liebe 2:36 57892 2 Hörst du sie noch? 2:29 @ Barg im Busen uns sich die Sonne 2:42 3 Nicht Hörnerschall tönt so hold 6:09 # Einsam wachend in der Nacht 2:43 4 Dein Werk? O tör’ge Magd! 3:56 $ Lausch, Geliebter! 1:46 5 Isolde! Tristan! Geliebte(r)! 2:57 % Unsre Liebe? Tristans Liebe? 2:10 6 Wie lange fern! Wie fern so lang! 1:19 ^ Doch unsre Liebe 1:58 4 7 Dem Tage! Dem Tage 4:51 & So stürben wir, um ungetrennt 2:57 www.naxos.com Made in the EU English translations Gesangtexte auf Deutsch • German sung texts with Booklet notes in English • Kommentar und h 8 O eitler Tagesknecht! 2:15 * Soll ich lauschen? 1:41 & 9 In deiner Hand den süssen Tod 1:56 ( O ew’ge Nacht, süsse Nacht!* 5:43 g 0 Doch es rächte sich der 2004 Naxos Rights International Ltd.
  • Spring 2008-Final

    Spring 2008-Final

    Wagneriana Endloser Grimm! Ewiger Gram! Spring 2008 Der Traurigste bin ich von Allen! Volume 5, Number 2 —Die Walküre From the Editor ven though the much-awaited concert of the Wagner/Liszt piano transcriptions was canceled due to un- avoidable circumstances (the musicians were unable to obtain a visa), the winter and early spring months E brought several stimulating events. On January 19, Vice President Erika Reitshamer gave an audiovisual presentation on Wagner’s early opera Das Liebesverbot. This well-attended event was augmented by photocopies of extended excerpts from the libretto, with frequently amusing commentary by the presenter on Wagner’s influences and foreshadowings of his future operas. February 23 brought the excellent talk by Professor Hans Rudolf Vaget of Smith College. Professor Vaget spoke about Wagner’s English biographer Ernest Newman, whose seminal four-volume book The Life of Richard Wagner has never been surpassed in its thoroughness. In the early part of the twentieth century, the music critic Newman served as a counterbalance to his fellow countryman Houston Stewart Chamberlain, Wagner’s son-in-law and an ardent Nazi. The talk also included aspects of Thomas Mann’s fictional writings on Wagner, as well as the philoso- pher and musician Theodor Adorno and Wagner’s other son-in-law Franz Beidler. On April 19 we learned the extent of Buddhism’s influence on Wagner’s operas thanks to a lecture and book signing by Paul Schofield, author of The Redeemer Reborn: Parsifal as the Fifth Opera of Wagner’s Ring. The audience members were so interested in what Mr.
  • The Orchestra in History

    The Orchestra in History

    Jeremy Montagu The Orchestra in History The Orchestra in History A Lecture Series given in the late 1980s Jeremy Montagu © Jeremy Montagu 2017 Contents 1 The beginnings 1 2 The High Baroque 17 3 The Brandenburg Concertos 35 4 The Great Change 49 5 The Classical Period — Mozart & Haydn 69 6 Beethoven and Schubert 87 7 Berlioz and Wagner 105 8 Modern Times — The Age Of The Dinosaurs 125 Bibliography 147 v 1 The beginnings It is difficult to say when the history of the orchestra begins, be- cause of the question: where does the orchestra start? And even, what is an orchestra? Does the Morley Consort Lessons count as an orchestra? What about Gabrieli with a couple of brass choirs, or even four brass choirs, belting it out at each other across the nave of San Marco? Or the vast resources of the Striggio etc Royal Wedding and the Florentine Intermedii, which seem to have included the original four and twenty blackbirds baked in a pie, or at least a group of musicians popping out of the pastry. I’m not sure that any of these count as orchestras. The Morley Consort Lessons are a chamber group playing at home; Gabrieli’s lot wasn’t really an orchestra; The Royal Wed- dings and so forth were a lot of small groups, of the usual renais- sance sorts, playing in turn. Where I am inclined to start is with the first major opera, Monteverdi’s L’Orfeo. Even that tends to be the usual renaissance groups taking turn about, but they are all there in a coherent dra- matic structure, and they certainly add up to an orchestra.
  • Johannes Brahms and Hans Von Buelow

    Johannes Brahms and Hans Von Buelow

    The Library Chronicle Volume 1 Number 3 University of Pennsylvania Library Article 5 Chronicle October 1933 Johannes Brahms and Hans Von Buelow Otto E. Albrecht Follow this and additional works at: https://repository.upenn.edu/librarychronicle Part of the Arts and Humanities Commons, and the Library and Information Science Commons Recommended Citation Albrecht, O. E. (1933). Johannes Brahms and Hans Von Buelow. University of Pennsylvania Library Chronicle: Vol. 1: No. 3. 39-46. Retrieved from https://repository.upenn.edu/librarychronicle/vol1/iss3/5 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/librarychronicle/vol1/iss3/5 For more information, please contact [email protected]. not later than 1487. Incidentally it may be mentioned that the Gesamtkatalog fully records a "Seitengetreuer Nach- druck" (mentioned by Proctor) as of [Strassburg, Georg Husner, um 1493/94]. The two editions (of which Dr. Ros- enbach's gift is the original) have the same number of leaves but the register of signatures is different. And now in 1933 comes the Check list of fifteenth century books in the New- berry Library, compiled by Pierce Butler, capping the struc- ture with the date given as [1488] and the printer Johann Priiss, OTHER RECENT GIFTS Through the generosity of Mr. Joseph G. Lester the Library has received a copy of Lazv Triumphant, by Violet Oakley. The first volume of this beautifully published work contains a record of the ceremonies at the unveiling of Miss Oakley's mural paintings, "The Opening of the Book of the Law," in the Supreme Court room at Harrisburg, and the artist's journal during the Disarmament Conference at Gen- eva.
  • MONDAY 1 OCTOBER 2018 CAST AMENDMENT GÖTTERDÄMMERUNG (Richard Wagner) Monday 1 October 2018 at 4Pm

    MONDAY 1 OCTOBER 2018 CAST AMENDMENT GÖTTERDÄMMERUNG (Richard Wagner) Monday 1 October 2018 at 4Pm

    MONDAY 1 OCTOBER 2018 CAST AMENDMENT GÖTTERDÄMMERUNG (Richard Wagner) Monday 1 October 2018 at 4pm Due to the indisposition of Christina Bock, Rachael Lloyd sings Wellgunde in today’s performance. Rachael Lloyd has sung Alisa (Lucia di Lammermoor) and Kate Pinkerton (Madama Butterfly) for The Royal Opera. Other appearances include Mrs Anderssen in Sondheim’s A Little Night Music (Théâtre du Châtelet, Paris), the title role of Carmen (Raymond Gubbay Ltd at Royal Albert Hall), Miss Jessel in The Turn of the Screw, Third Lady in The Magic Flute and Pitti-Sing in The Mikado (ENO), Amastris in Xerxes (ETO, Early Opera Company), Maddalena in Rigoletto (Iford Arts), Aristea in L’Olimpiade (Buxton Festival), Meg Page in Falstaff (Glyndebourne on Tour), Woman/Mother in Dove’s The Day After (ENO Baylis) and Cornelia in Giulio Cesare (Glyndebourne Festival). Notable concert performances include Rossini’s Stabat Mater (Ulster Orchestra), Dido and Aeneas (Spitalfields Festival), Messiah (Kristiansund), Ravel’s Trois Poèmes de Stéphane Mallarmé (LPO) andSchumann’s Frauenliebe und - leben and Elgar’s Sea Pictures (Opéra de Lille). Plans include Selene in Berenice (Royal Opera). The rest of the cast remains the same with German tenor Stefan Vinke as Siegfried, Swedish soprano Nina Stemme as Brünnhilde, Austrian baritone Markus Butter as Gunther, Danish bass Stephen Milling as Hagen, American soprano Emily Magee as Gutrune, Scottish mezzo-soprano Karen Cargill as Waltraute, German baritone Johannes Martin Kränzle as Alberich, British contralto Claudia Huckle as First Norn, For all Royal Opera House press releases visit www.roh.org.uk/press German soprano Irmgard Wilsmaier as Second Norn, Norwegian soprano Lise Davidsen as Third Norn, Australian soprano Lauren Fagan as Woglinde and English mezzo-soprano Angela Simkin as Flosshilde, conducted by Antonio Pappano.