Flight to Anywhere
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Commissioned Orchestral Version of Jonathan Dove’S Mansfield Park, Commemorating the 200Th Anniversary of the Death of Jane Austen
The Grange Festival announces the world premiere of a specially- commissioned orchestral version of Jonathan Dove’s Mansfield Park, commemorating the 200th anniversary of the death of Jane Austen Saturday 16 and Sunday 17 September 2017 The Grange Festival’s Artistic Director Michael Chance is delighted to announce the world premiere staging of a new orchestral version of Mansfield Park, the critically-acclaimed chamber opera by composer Jonathan Dove and librettist Alasdair Middleton, in September 2017. This production of Mansfield Park puts down a firm marker for The Grange Festival’s desire to extend its work outside the festival season. The Grange Festival’s inaugural summer season, 7 June-9 July 2017, includes brand new productions of Monteverdi’s Il ritorno d'Ulisse in patria, Bizet’s Carmen, Britten’s Albert Herring, as well as a performance of Verdi’s Requiem and an evening devoted to the music of Rodgers & Hammerstein and Rodgers & Hart with the John Wilson Orchestra. Mansfield Park, in September, is a welcome addition to the year, and the first world premiere of specially-commissioned work to take place at The Grange. This newly-orchestrated version of Mansfield Park was commissioned from Jonathan Dove by The Grange Festival to celebrate the serendipity of two significant milestones for Hampshire occurring in 2017: the 200th anniversary of the death of Austen, and the inaugural season of The Grange Festival in the heart of the county with what promises to be a highly entertaining musical staging of one of her best-loved novels. Mansfield Park was originally written by Jonathan Dove to a libretto by Alasdair Middleton based on the novel by Jane Austen for a cast of ten singers with four hands at a single piano. -
'Poor, Pale, Rusalka' : the Polymorphic Nature of the Heroine of Dvořák's
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. ‘Poor, pale, Rusalka’: The Polymorphic Nature of the Heroine of Dvo řák’s Rusalka Jasna Brackovic A Thesis submitted to Massey University and Victoria University of Wellington in fulfilment of the requirements of the degree of Master of Music in Musicology New Zealand School of Music 2014 ii Abstract Rusalka, the protagonist of Antonín Dvo řák’s eponymous opera, is probably one of the most unique operatic heroines. Rusalka’s burning desire to become human in order to be with one and have a soul takes her on an interesting, yet tragic journey. From water nymph to human to will-o-the-wisp, Rusalka goes through three different states and two metamorphoses that leave her desire unfulfilled and cause her to suffer continuously. The two metamorphoses cause Rusalka to remain between the natural and human worlds, both of which reject her. This in turn leads to her eternal suffering. Her tragic fate and constant agony portray her as a victim. And yet Rusalka is also a powerful character who is in command of her own story: as the opera’s sole protagonist, we are encouraged to identify with her perspective. She is constantly present throughout the opera. Even in the scenes that do not require her presence, she communicates with us through absence and through other characters that are, like us, influenced by her presence. -
RNCM OPERA the CUNNING LITTLE VIXEN LEOŠ JANÁČEK WED 02, FRI 04, MON 07 DEC | 7.30PM SUN 06 DEC | 3PM RNCM THEATRE
WED 02 - MON 07 DEC RNCM OPERA The CUNNING LITTLE VIXEN LEOŠ JANÁČEK WED 02, FRI 04, MON 07 DEC | 7.30PM SUN 06 DEC | 3PM RNCM THEATRE LEOŠ JANÁČEK The CUNNING LITTLE VIXEN The Cunning Little Vixen Music by Leoš Janáček Libretto by Leoš Janáček based on the novella by Rudolf Těsnohlídek, translated by David Pountney Translation © David Pountney Used with permission of David Pountney. All Rights Reserved. 3 SYNOPSIS CAST THE ADVENTURES OF THE VIXEN BYSTROUŠKA Emyr Jones*, Ross Cumming** Forester Act I Pasquale Orchard*, Alicia Cadwgan** Vixen Sharp-Ears How they caught Bystrouška Georgia Mae Ellis*, Melissa Gregory** Fox Goldenmane Bystrouška in the courtyard of Lake Lodge Philip O’Connor*, Gabriel Seawright** Schoolmaster/Mosquito Bystrouška in politics Liam Karai*, George Butler** Priest/Badger Bystrouška gets the hell out Ema Rose Gosnell*, Lila Chrisp** Forester’s Wife/Owl Ranald McCusker*, Samuel Knock** Rooster/Mr Pásek Act II Sarah Prestwidge*, Zoë Vallée** Chocholka/Mrs Pásek Bystrouška dispossesses William Kyle*, Thomas Ashdown** Harašta Bystrouška's love affairs Rebecca Anderson Lapák Bystrouška's courtship and love Lorna Day Woodpecker Katy Allan Vixen as a Cub Interval Georgia Curwen Frantík/Cricket Emily Varney Pepík/Frog Act III Anastasia Bevan Grasshopper/Jay Bystrouška outran Harašta from Líšeň How the Vixen Bystrouška died RNCM OPERA CHORUS DANCER FOX CUBS The baby Bystrouška - the spitting image of her mother Lleucu Brookes Jade Carty Lleucu Brookes Jade Carty Jade Carty Dominic Carver HENS Abigail Jenkins James Connolly -
Pittsburgh OPERA NEWS RELEASE
1/3/2008 PITTSBURGH OPERA NEWS RELEASE CONTACT: BETH PARKER (412) 281-0912 X 248 [email protected] PHOTOS: MAGGIE JOHNSON (412) 281-0912 X262 [email protected] PITTSBURGH OPERA TAKES FLIGHT WITH A NEW OPERA BY JONATHAN DOVE WHAT Jonathan Dove’s Flight WHERE CAPA Theater WHEN Saturday, January 26, 8:00 p.m. Friday, February 1, 8:00 p.m. Tuesday, January 29, 7:00 p.m. Sunday, February 3, 2:00 p.m. Note: Saturday, January 26 performance SOLD OUT. RUN TIME 2 hours and 45 minutes including two fifteen-minute intermissions LANGUAGE Sung in English with texts projected above the stage E TICKETS General Admission at $40. Call (412) 456-6666, visit www.pittsburghopera.org, or purchase in person at the Theater Square box office at 665 Penn Avenue. Pittsburgh, PA . Artistic Director Christopher Hahn announces this season’s Pittsburgh Opera Center production, Jonathan Dove’s Flight. An accessible new opera that’s all about the human condition, Flight mixes farce and drama when a storm strands airline passengers and crew, forcing them to take stock of their tempestuous lives. For the first time, seasoned guest artists join the rising stars of the Pittsburgh Opera Center. Internationally-known countertenor sensation David Walker headlines as the Refugee, along with Pittsburgh favorite Myrna Paris as the Older Woman looking for love in all the wrong places. Both Walker and Paris have sung these roles before to great critical acclaim in previous American productions. Conductor James Lowe leads a 45-piece orchestra in this major operatic work. Links The Story Cast Production Credits Related Events Jonathan Dove and Flight Genesis of the Opera The Production Cast and Production Bios 1/3/2008 The Story Set in the departure lounge of an airport, Flight tells the story of passengers and crew members whose planes have been delayed by an electric storm. -
Global and Radical Homesickness: Rewriting Identities in the Airport Narratives of Pico Iyer and Sir Alfred Mehran
City University of New York (CUNY) CUNY Academic Works Publications and Research New York City College of Technology 2019 Global and Radical Homesickness: Rewriting Identities in the Airport Narratives of Pico Iyer and Sir Alfred Mehran Sean Scanlan CUNY New York City College of Technology How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/ny_pubs/549 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ................................. MLS 49.1 contents Articles Global and Radical Homesickness: 10 Rewriting Identities in the Airport Narratives of Pico Iyer and Sir Alfred Mehran Sean Scanlan Temples and Ghost Shrines: 35 William Carlos Williams, Gary Snyder, and Rediscovering Sacredness in Urban Waters Paul Cappucci Fiction & Poetry Chloe N. Clark: The Ocean is Not Empty . 51 C.R. Resetarits: Coming cuts 69 To the circus 69 MLS Serial: Minotaur 70 Mara Rutherford Profession & Pedagogy The New Wave and Fellini Projects: Teaching Culture through Film Study, Practice, and Study Abroad 58 Kevin Bongiorni and Patricia A. Suchy Reviews Akwaeke Emezi. Freshwater 82 Uzodinma lweala. Speak No Evil lmbolo Mbue. Behold the Dreamers Taiwo Adetunji Osinubi Muriel Rukeyser. The Book of the Dead 87 Davy Knittle Part of the pathos and stress of the airport (the leading cause of death at JFK is the coronary) is that lives are being changed irreversibly, and people have nothing to steady themselves with but a Coffee People outlet, a Sky Plaza. and a Smarte Cart that (in Los Angeles at least) speaks seven different languages. -
The Stateless Novel: Refugees, Literary Form, and the Rise of Containerization
The Stateless Novel: Refugees, Literary Form, and the Rise of Containerization Sina Rahmani Halfway through Grant Gee’s film Patience (After Sebald ) (2012), Christopher MacLehose, the original publisher of the English translation of The Rings of Saturn (1998), recounts an anecdote about W. G. Sebald’s debut on the anglophone literary stage: One of the questions we asked him was, “Which category would you like your book to be in?” And Max [Sebald] said, “Oh, I’d like all the categories. I want fiction, I want biography, I want autobiography, I want travel, I want history, I want . .” Well, he didn’t say Holocaust Studies, but anyways, there wasn’t a category he didn’t require. Max was very clear, what he was saying was, “Don’t put me in a box; I want to be in all the boxes. I’m not writing a familiar formula.” This essay would not have been possible without the financial support of the Social Sciences and Humanities Research Council of Canada. I also benefited from helpful feedback from a number of patient readers: Imre Szeman, Todd Presner, Aamir Mufti, Jonathan Grossman, Yahya Elsaghe, Sanna Alas, Nada Ayad, Ian Newman, and Uwe Schütte. Unless otherwise noted, all translations are my own. boundary 2 47:3 (2020) DOI 10.1215/01903659- 8524442 © 2020 by Duke University Press Downloaded from http://read.dukeupress.edu/boundary-2/article-pdf/47/3/103/813788/0470103.pdf by guest on 01 October 2021 104 boundary 2 / August 2020 MacLehose’s account of Sebald’s resistance to generic classifica- tion is noteworthy for two reasons. -
Teaching Countertenors: Integrating Countertenor Pedagogy Into the Collegiate Studio
TEACHING COUNTERTENORS: INTEGRATING COUNTERTENOR PEDAGOGY INTO THE COLLEGIATE STUDIO BY PETER G. THORESEN Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University May, 2012 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Havranek, Research Director/ Chairperson __________________________________ Brent Gault __________________________________ Brian Horne __________________________________ Patricia Wise ii ACKNOWLEDGMENTS I am deeply grateful to my friends and family for their counsel and continued questions about countertenors. Specifically, I wish to thank Joseph Mace for his patience and generosity of spirit and time throughout the course of this examination. I am indebted to the members of my research committee, and wish to thank my research director, chairperson, and voice teacher, Professor Patricia Havranek for her seemingly endless supply of encouragement, guidance, and knowledge of vocal pedagogy. I also wish to thank Dr. Estelle Jorgensen for teaching me how to properly organize my thoughts, synthesize those of others, and convey them to readers. I dedicate this doctoral document to the memory of my former teacher, Inez Altman Crofts, who introduced me to the word countertenor. I also dedicate this examination to the memory of Professor Paul Kiesgen, whose love and knowledge of voice teaching continue to shape me as a teacher, scholar, and colleague. iii CONTENTS ACKNOWLEDGMENTS iii Chapter 1. Introduction: A Call for Integration 1 Chapter 2. Respiration 16 Chapter 3. Phonation 33 Chapter 4. Resonance 53 Chapter 5. Repertoire 71 Chapter 6. -
Over 100 Opera Makers
#OPERAHARMONY CREATING OPERAS IN ISOLATION 1 3 WELCOME TO #OPERA HARMONY FROM FOUNDER – ELLA MARCHMENT Welcome to #OperaHarmony. #Opera Harmony is a collection of opera makers from across the world who, during this time of crisis, formed an online community to create new operas. I started this initiative when the show that I was rehearsing at Dutch National Opera was cancelled because of the lockdown. Using social media and online platforms I invited colleagues worldwide to join me in the immense technical and logistical challenge of creating new works online. I set the themes of ‘distance’ and ‘community’, organised artist teams, and since March have been overseeing the creation of twenty new operas. All the artists involved in #OperaHarmony are highly skilled professionals who typically apply their talents in creating live theatre performances. Through this project, they have had to adapt to working in a new medium, as well as embracing new technologies and novel ways of creating, producing, and sharing work. #OperaHarmony’s goal was to bring people together in ways that were unimaginable prior to Covid-19. Over 100 artists from all the opera disciplines have collaborated to write, stage, record, and produce the new operas. The pieces encapsulate an incredibly dark period for the arts, and they are a symbol of the unstoppable determination, and community that exists to perform and continue to create operatic works. This has been my saving grace throughout lockdown, and it has given all involved a sense of purpose. When we started building these works we had no idea how they would eventually be realised, and it is with great thanks that we acknowledge the support of Opera Vision in helping to both distribute and disseminate these pieces, and also for establishing a means in which audiences can be invited into the heart of the process too . -
Spring Festival
2020-2021 SEASON SPRING FESTIVAL Dear Friends: Estimados amigos: Welcome to this performance of Bienvenidos a esta función del Festival de Auto-Ópera San Diego Opera’s Spring Drive-in de Primavera de San Diego Opera. Festival. Basándonos en el éxito de la producción de la Auto- Building on the successes of our Ópera La Bohème, una vez más hemos encontrado October drive-in production of una solución innovadora, que les permita reunirse de La Bohème, we’ve once again forma segura con otros amantes de la ópera en una DAVID BENNETT found an innovative solution presentación en vivo. General Director that allows you to safely gather San Diego Opera with other opera lovers for live En este festival, les traemos cuatro funciones llenas de performances. diversión de la muy apreciada y vibrante comedia El Barbero de Sevilla de Rossini y Una Noche Extraordinaria: In this festival, we bring together four fun-filled Cuando te vuelva a ver, con la participación de los performances of Rossini’s beloved sparkling comedy The magníficos miembros del Coro de San Diego Ópera y Barber of Seville and One Amazing Night: When I See talentosos artistas invitados de la región. Your Face Again, featuring the wonderful members of the San Diego Opera Chorus and talented local guest artists. En cada función, los invitamos a que visiten nuestros camiones de comida o a disfrutar su propia comida y At each performance, we invite you to visit our food bebida, reclinen sus asientos hacia atrás y pónganse trucks or enjoy your own food and drink, move your seats cómodos, suban el volumen de su radio de FM y gocen back and get comfortable, turn up the volume on your lo que tanto hemos estado extrañando – puestas en FM radio, and enjoy what we all have been missing so escena de ópera en vivo. -
Mansfield Park Chamber Opera Libretto by Alasdair Middleton
Contemporary DOVE Mansfield Park Chamber Opera Libretto by Alasdair Middleton Vocal Score No. 72027a MANSFIELD PARK Libretto by ACT ONE Music by Alasdair Middleton Jonathan Dove Scene One Grand q = 60 mf Mary Crawford Park. Chap-ter One. The Ber-trams Ob- served. These,bro- ther, are the f mf Maria Bertram Mans-field Park. Chap-ter One. The Ber-trams Ob - served. f mf Aunt Norris Mans-field Park. Chap-ter One. The Ber-trams Ob-served. f mf Julia Bertram MansMans--field Park. Chap-ter One. The Ber-trams Ob - served. f mf Fanny Price Mans-field Park. Chap-ter One. The Ber-trams Ob- served. f mf Lady Bertram Mans-field Park. Chap-ter One. The Ber-trams Ob-served. f mf Henry Crawford Mans-field Park. Chap-ter One. The Ber-trams Ob-served. f mf Mr Rushworth Mans-field Park. Chap-ter One. The Ber-trams Ob-served. f mf Edmund Mans-field Park. Chap-ter One. The Ber-trams Ob-served. f Sir Thomas Mans-field Park. Chap-ter One. The Ber-trams Ob-served. Grand q = 60 f ff mf sfz Edition Peters No. 72067 Music © Copyright 2010 by Hinrichsen Edition, Peters Edition Limited, London Libretto © Copyright 2010 by Alasdair Middleton 2 5 Steady q = 112 1 M.C. Ber-trams Lady B. Niece! Fan- ny! Niece! Fan- ny! Pull the bell for some coal. Poor fsf z p sim. 9 Aunt N. Fan - ny Price! Fan - ny Price! F. Yes, La - dy Ber - tram. Lady B. Pug is shi - ver - ing. mf 11 Aunt N. -
Opera Project That Received NEA Funding
Nov 2018 Under the Freedom of Information Act, agencies are required to proactively disclose frequently requested records. Often the National Endowment for the Arts receives requests for examples of funded grant proposals for various disciplines. In response, the NEA is providing examples of the “Project Information” also called the ”narrative” for a successful Opera project that received NEA funding. The selected examples is not the entire funded grant proposal and only contain the grant narrative and selected portions. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. The following narratives have been selected as example because it represents a diversity of project type and is well written. Although the project was funded by the NEA, please note that nothing should be inferred about the ranking of each application within its respective applicant pool. We hope that you will find these records useful as an example of a well written narrative. However please keep in mind that because each project is unique, these narrative should be used as reference, rather than templates. If you are preparing your own application and have any questions, please contact the appropriate program office. You may also find additional information regarding the grant application process on our website at Apply for a Grant | NEA . Opera Opera for the Young (Opera for the Young) Beth Morrison Project (Commissioning) Utah Symphony & Opera (Repeat Productions of Newly Premiered Works) Glimmerglass Opera (Opera Festival) Patrick G. and Shirley Ryan Opera Center (Young Artist Program) Opera Omaha (World Premiere) 16-973749 Attachments-ATT20-Project_Information.pdf Opera for the Young, Inc. -
The Use of Drama Techniques in Teaching Adult EFL Learners
MASARYK UNIVERSITY BRNO FACULTY OF EDUCATION Department of English Language and Literature The Use of Drama Techniques in Teaching Adult EFL Learners Bachelor Thesis Brno 2012 Supervisor: Author: Mgr. Naděžda Vojtková Martina Váchová 1 Annotation The Bachelor's thesis The Use of Drama Techniques in Teaching Adult EFL Learners deals with the use of drama in teaching English, putting emphasis on teaching adults. Chapter one is concerned with the advantages and disadvantages of using drama in teaching English and provides several practical tips on implementing drama into English lessons. Chapter two enumerates and describes various types of commonly used drama techniques. Chapter three characterizes adult learners, defines their expectations and analyses possibilities of using drama in adult education, with particular emphasis on enriching English lessons with drama oriented activities. Chapter four, being the practical part, consists of a series of lesson plans based on drama activities, accompanied with evaluations of the lessons. Anotace Bakalářská práce The Use of Drama Techniques in Teaching Adult EFL Learners se zabývá využitím technik dramatické výchovy ve výuce angličtiny, přičemž důraz je kladen na výuku dospělých. V první kapitole jsou popsány výhody a nevýhody používání dramatiky ve výuce angličtiny a dále je zde uvedeno několik praktických rad vztahujících se k zavádění dramatických postupů do hodin angličtiny. V kapitole druhé jsou vyjmenovány nejběžněji používané dramatické techniky. Třetí kapitola pojednává o charakteristických