DOCSLIB.ORG

Dominick Argento

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dominick Argento Contents Welcome 4 Boyhood’s End 54 Prose A WATER BIRD TALK POEMS OF SIX ROMANCES A Water Bird Talk 6 Music and Text | MARINA TSVETAEVA ON BRITISH POETS Ideas on atonal music Q&A with Susan Bickley Dominick Argento Shostakovich | Tsvetaeva Shostakovich | Raleigh, John Shea recites Boyhood’s End Dominik Argento - a biography Burns, Shakespeare Julien Van Mellaerts Baritone Katie Stevenson Mezzo-soprano On the Harmful Effects of Tobacco, the Chekhov Play Holy Sonnets of John Donne 58 Ella O’Neill Pianist on which Argento bases A Water Bird Talk Ian Tindale Pianist Edward Hawkins Bass Poems Susan Bickley Director Bernadette Iglich Dancer Sergey Rybin Pianist La Voix Humaine 12 Making Material from a Sound World Rahel Vonmoos Director James Conway Director Life of an Artist in Lockdown Notes on ‘Holy Sonnets of John Donne’ LA VOIX HUMAINE Poulenc | Cocteau HOLY SONNETS THE POET’S ECHO Felicity Lott’s ‘Thoughts on Poulenc’ Poems of Marina Tsvetaeva 66 OF JOHN DONNE Britten | Pushkin La voix humaine — a programme note by Dr Lucy Walker Paula Sides Soprano Poems of Marina Tsvetaeva Britten | Donne A Distinctly Human Voice| A note on La voix humaine Sergey Rybin Pianist Jenny Stafford Soprano Marina Tsvetaeva: A Note from James Conway by James Conway James Conway Director Richard Dowling Tenor Sergey Rybin Pianist A Short Biography of Marina Tsvetaeva Ian Tindale Pianist James Conway Director Songs and Proverbs of William Blake 22 A reading of My Poems by Holly Mathieson TEL JOUR, TELLE NUIT Bernadette Iglich Choreography Poems Poulenc | Éluard & Dancer Background into Britten’s Songs and Proverbs The Heart’s Assurance 76 of William Blake, op. 74 Poems Jenny Stafford Soprano CHARM OF LULLABIES A reading of The Tyger by Tom Shakespeare Notes on ‘The Heart’s Assurance’ Julien Van Mellaerts Baritone Britten | Blake, Burns, Greene, A reading of Ah! Sun-flower by Jilly Cooper James Conway Director Randolph, Phillip A reading of A Poison Tree by Omar Shahryar Charm of Lullabies 82 Poems BOYHOOD’S END Katie Stevenson Mezzo-soprano Tippett | W.H. Hudson Ian Tindale Pianist Romances on British Poetry 30 Notes on A Charm of Lullabies James Conway Director Poems Thomas Elwin Tenor Director’s note Biographies 90 Ian Tindale Pianist SONGS AND Edward Hawkins recites Sonnet 66 by William Shakespeare Paul Chantry Dancer Acknowledgements 94 PROVERBS Rae Piper and Paul Chantry The Poet’s Echo 36 Choreography OF WILLIAM BLAKE Production Credits 97 Britten | Blake Poems and translation Preparing to stage A Poet’s Echo (Britten/ Pushkin) Tour schedule 98 THE HEART’S Julien Van Mellaerts Baritone Background on Britten’s The Poet’s Echo, op 76 (1965) ASSURANCE Ella O’Neill Pianist Tippett | Lewis & Keyes John Savournin Director Tel jour, telle nuit 44 Poems and translation Thomas Elwin Tenor Ian Tindale Pianist An extract from Poulenc’s ‘Diary of My Songs’ Richard Dowling Actor Poulenc: Tel jour tell nuit | Lucy Walker Bernadette Iglich Choreography Design Consultant: Louie Whitemore 2 3 Enjoy our opera for children, Shh! We Have a Plan Online until January 26th 2021 Four friends fail in their hare-brained schemes to catch a beautiful birdy. Welcome The littlest of them knows that a bit of kindness can go a long way. Will his friends follow his gentle lead or will they get themselves into even more trouble? In these extraordinary times, we are The team behind the hugely successful 2020 digital & puppetry adaption of pleased to offer this programme to I Want My Hat Back return in style with a short film of Chris Haughton’s much you for free. loved modern-classic Shh! We Have a Plan. A number of our friends and supporters Click here have offered to donate to ETO to cover the to donate costs of producing this programme. If you enjoy reading it and would like to donate, we would be grateful for your support. We have usually sold programmes for £4. 4 English Touring Opera at Snape Maltings - Baritone Julien Van Mellaerts and pianist Ella O’Neill perform Dominick Argento’s A Water Bird Talk 5 (October 23, 2020 - Beki Smith, Britten Pears Arts) Julien Van Mellaerts Baritone Ella O’Neill Pianist Susan Bickley Director — A Water Bird Talk Q&A with Susan Bickley Music and Text | Dominick Argento Dominik Argento - A biography Harmful effects of tobacco the Chekhov Play on which Argento bases A Water Bird Talk 6 Image: Baritone Julien Van Mellaerts and pianist Ella O’Neill perform Dominick Argento’s A Water Bird Talk 7 (October 23, 2020 - Beki Smith, Britten Pears Arts) JC: You are used to the harridan wife could be seen JC: How has this period learning pieces from the as a bit of a misogynistic cliché, of relative silence been perspective of the role you she’s clearly made this man’s life for you? Has it clarified are singing — did you come a misery… but I have to say i for you why you are a to know A Waterbird Talk have come across marriages that performer, for example? in a different sort of way? are not dissimilar in nature so Is there anything you there is definitely an element of would like to say about SB: I did approach working reality! Fortunately Julien is also the community of freelance on ‘Waterbird’ differently to an excellent pianist and as the artists, if you perceive that something I would be singing. score requires ‘the lecturer’ to there is a community? The text was my first job…to play, if he possibly can, that has work out what Argento was been a real bonus. SB: Well this year has been meaning, to read the play it was the most extraordinary time for based on and to then listen to JC: I know you have everyone in the arts. Freelancers, it and get a grip of what was recently done your own in particular, have really suffered happening musically. Then to one-person show, based as there has been little or no imagine what ‘ the lecturer’ on music of Berio. What financial support and many have Q&A with would be doing and where do you reckon to be the had to take other jobs to survive. and how on the stage. If it was particular challenges of a That is all very well… but when a role I was singing I would one-person show? you have trained for years and have probably done things the spent a fortune on study it is Susan Bickley other way round… getting to SB: I have had several heartbreaking not to be able to Photo Credit: Leon Hargreaves Photo Credit:Leon know the notes and studying experiences of being the sole use those very particular skills. the text second. Singers all singer in a piece, the most recent And they are skills that need to have different ways of getting of which was to perform Berio’s be nurtured and practised… a to know what they are having Recital for Cathy. It is scored difficult thing to maintain while Director, James Conway JC: As a performer, what JC: What was it like to learn. As a performer who for a singer and accompanist working for Amazon, say, on speaks with mezzo-soprano have you come to value directing another singer? has learnt the skill of interpreting and chamber orchestra who are night shifts. I count my blessings… in a director? Susan Bickley about SB: What a very interesting someone else’s ideas… offstage and was written for his I had a lot of work cancelled, the difference between SB: As a performer I’ve been situation to be in... to be on composer, librettist, director or wife Cathy Berberian. It’s a piece here and abroad, but I have a of music theatre….a monologue performing and directing extremely fortunate to work the other side of the table! I conductor it was most interesting husband who works full time so with some truly inspirational hadn’t really planned to do any to be suggesting my ideas to from a singer giving a recital in we are not on the breadline. and how this has influenced someone else for a change! which she gradually loses her However, many young artists, her direction of Argento’s directors... my favourites being directing but was delighted to those who regularly choose be asked by James Conway... mind while singing about 42 some married to other performers A Water Bird Talk. to work in theatre as well and perhaps starting with a JC: What do you like best very short extracts from her past and with families to support, as opera. Before ending up one person opera is a good about A Waterbird Talk? repertoire. What a piece! Very have really suffered. So those studying music and singing I idea! My first reaction was to When does it speak to tricky to learn but covering the companies, like ETO, who had always wanted to be an think ..‘oh I’m not sure I’d be your heart? full gamut of emotion. We last are now managing to mount performed it in the British Museum some performances, albeit in actress and so being involved up to that..’ but frankly, in these SB: It’s an interesting piece… amongst the Elgin Marbles! I compromised ways, will be the in opera has ticked all boxes! times when singing work is Waterbird... a rather good loved doing it… but when you’re saviours for those young singers, Directors who also understand virtually nonexistent, it seemed vehicle for an actor/singer to on your own there certainly actors, technicians etc starting the nature of the music are very the perfect time to take on a show a wide variety of emotions.
Load more

Recommended publications
  • The Voice and Singing Sample Pages.Pdf
    2 THE VOICE AND SINGING FRANCIS KEEPING AND ROBERTA PRADA Originally LA VOIX ET LE CHANT TRAITÉ PRACTIQUE J. FAURE PARIS 1886 this book, translated and expanded contains Faure’s original exercises with all the transpositions as indicated by the author. 3 Copyright © 2005 Francis Keeping and Roberta Prada. All rights reserved. No part of this book may be reproduced in any form, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. Published in 2005 by Vox Mentor LLC. For sales please contact: Vox Mentor LLC. 343 East 30th street, 12M. New York, NY. 10016 phone: 212-684-5485 Email: [email protected] Website: www.voxmentor.biz Printed in USA. Awaiting Library of congress Cataloging-in-Publication Data ISBN 10: 0-9777823-0-1 Originally La Voix et le Chant, J. Faure, Paris, 1886, AU Menestrel, 2 bis, Rue Vivienne, Henri Heugel. The present volume is set in Times New Roman 12 point, on 28 lb. bright white acid free paper and wire bound for easy opening on the music stand. Page turns have been avoided wherever possible in the exercises, meaning that there are intentional blank spaces throughout. The cover photo of J. Faure as a younger man is from the collection of Bill Ecker of Harmonie Autographs, New York City. The present authors have faithfully translated the words of Faure, taking care to preserve the original intent of the author making changes only where necessary to assist modern readers. The music was written using Sibelius 3 and 4™ software.
    [Show full text]
  • La Voix Humaine: a Technology Time Warp
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 La Voix humaine: A Technology Time Warp Whitney Myers University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.332 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Myers, Whitney, "La Voix humaine: A Technology Time Warp" (2016). Theses and Dissertations--Music. 70. https://uknowledge.uky.edu/music_etds/70 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • La Voix Humaine
    LA VOIX HUMAINE BARBARA HANNIGAN soprano et direction ORCHESTRE PHILHARMONIQUE DE RADIO FRANCE BARBARA HANNIGAN CHANTE ET DIRIGE LA VOIX HUMAINE Après avoir interprété La Voix humaine dans la mise en scène de Krszysztof Warli- kowski à l’Opéra de Paris (2015, 2018), Barbara Hannigan imagine une nouvelle interprétation de « Elle », le personnage de Poulenc, cette fois dans le double rôle de chanteuse et de chef d’orchestre. Le vidéaste Denis Guéguin, qui travaille depuis 2003 avec Krszysztof Warli- kowski, se joint à la chanteuse à la faveur d’une production originale qui mêle projection vidéo en direct et film pré-enregistré ; on y voit le personnage, pris dans son propre fantasme, diriger l’orchestre. Cette performance télescope une mise en abîme sur le thème de la transformation, et une technique de direction d’orchestre peu orthodoxe qui accentue le drame psychologique. En préambule à ce drame lyrique, Barbara Hannigan dirige les Métamorphoses de Richard Strauss : la même « Elle », qui chante et dirige Poulenc, emmène le spectateur dans la réflexion de Strauss sur la transcendance, le passage d’un monde à l’autre. « Ce spectacle est l’aboutissement d’une vie en constante évolution, raconte Barbara Hannigan. “Elle” a été un rôle important pour moi au fur et à mesure de l’évolution de ma carrière, et nous voyons maintenant une “Elle” qui chante, une “Elle” qui dirige. Le thème de la transformation est présent tout au long du pro- gramme à plusieurs degrés, alors que nous sommes confrontés à des problèmes tels que le vieillissement, la détérioration, la décadence, la perte et la désintégra- tion.
    [Show full text]
  • Evidence of Things Not Seen by Ned Rorem
    Evidence of Things Not Seen by Ned Rorem A presentation of baritone solos and other excerpts from the four-voice song cycle, Evidence of Things Not Seen André Chiang, baritone Alonso Saavedra, piano Louisiana State University Doctoral of Musical Arts Candidates The Composer: Ned Rorem Early Life Education - Northwestern University - Curtis Institute Notable Accolades - George Gershwin Memorial Prize in Composition (1948) - Pulitzer Prize for Air Music (1976) - Fulbright Fellowship (1951) - Guggenheim Fellowship (1957) Text and Music: A Notably Close Marriage - Art Song specialty - Diaries The Composer: Ned Rorem (cont.) - “In his diary, Lies, (published by Counterpoint Press in 2000) Rorem said: "My music is a diary no less compromising than my prose. A diary nevertheless differs from a musical composition in that it depicts the moment, the writer's present mood which, were it inscribed an hour later, could emerge quite otherwise. I don't believe that composers notate their moods, they don't tell the music where to go - it leads them....Why do I write music? Because I want to hear it - it's simple as that. Others may have more talent, more sense of duty. But I compose just from necessity, and no one else is making what I need." The Cycle’s Skeleton and Component Parts - Composed mostly in 1997 with two songs from earlier “Boy with a Baseball Glove” (used the melody as a theme for his violin concerto) and “He thinks upon his death” - The thirty-six texts chosen were by twenty-four authors of poetry and prose (with a translation by Rorem himself).
    [Show full text]
  • Le Temple De La Gloire
    april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 15 A co-production of Cal Performances, Philharmonia Baroque Orchestra & Chorale, and Centre de musique baroque de Versailles Friday and Saturday, April 28 –29, 2017, 8pm Sunday, April 30, 2017, 3pm Zellerbach Hall Jean-Philippe Rameau Le Temple de la Gloire (The Temple of Glory) Opera in three acts with a prologue Libretto by Voltaire featuring Nicholas McGegan, conductor Marc Labonnette Camille Ortiz-Lafont Philippe-Nicolas Martin Gabrielle Philiponet Chantal Santon-Jeffery Artavazd Sargsyan Aaron Sheehan New York Baroque Dance Company Catherine Turocy, artistic director Brynt Beitman Caroline Copeland Carly Fox Horton Olsi Gjeci Alexis Silver Meggi Sweeney Smith Matthew Ting Andrew Trego Philharmonia Baroque Orchestra & Chorale Bruce Lamott, chorale director Catherine Turocy, stage director and choreographer Scott Blake, set designer Marie Anne Chiment, costume designer Pierre Dupouey, lighting designer Sarah Edgar, assistant director Cath Brittan, production director Major support for Le Temple de la Gloire is generously provided by Philharmonia Baroque Orchestra & Chorale supporters: David Low & Dominique Lahaussois, The Waverley Fund, Mark Perry & Melanie Peña, PBO’s Board of Directors, and The Bernard Osher Foundation. Cal Performances and Philharmonia Baroque Orchestra & Chorale dedicate Le Temple de la Gloire to Ross E. Armstrong for his extraordinary leadership in both our organizations, his friendship, and his great passion for music. This performance is made possible, in part, by Patron Sponsors Susan Graham Harrison and Michael A. Harrison, and Francoise Stone. Additional support made possible, in part, by Corporate Sponsor U.S. Bank. april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 16 Title page of the original 1745 libretto of Le Temple de la Gloire .
    [Show full text]
  • Bach Sings: a Concert of Arias
    2021 ST. LOUIS BACH FESTIVAL BACH SINGS: A CONCERT OF ARIAS SUNDAY, APRIL 11, 2021 6:00 P.M. CT FEATURING: JOSEFIEN STOPPELENBURG, SOPRANO JAY CARTER, COUNTERTENOR GENE STENGER, TENOR ELIJAH BLAISDELL, BARITONE ALEXANDER DOBSON, BASS SPONSORED IN PART BY Grace Weber, Tyree & Linda Derrick A. DENNIS SPARGER, MUSIC DIRECTOR AND CONDUCTOR CONCERT PROGRAM “GEBT MIR MEINEM JESUM WIEDER” FROM THE ST. MATTHEW PASSION, BWV 244. J.S. BACH ALEXANDER DOBSON, TBASSYPE; J ULIENTO ENTERLEBLANC ,TEXT PIANO ARIAS FROM THE ST. JOHN PASSION, BWV 245. J.S. BACH NO. 7. “VON DEN STRICKEN MEINER SÜNDEN” JAY CARTER, COUNTERTENOR; KEITH WEBER, PIANO NO. 9. “ICH FOLGE DIR” JOSEFIEN STOPPELENBURG, SOPRANO; STEPHEN ALLTOP, ORGAN NO. 13. "ACH, MEIN SINN” GENE STENGER, TENOR; MATT HARRISON, PIANO NO. 19. “BETRACHTE MEINE SEEL" ELIJAH BLAISDELL, BARITONE; ELISABETH ELLIS, PIANO NO. 20. “ERWÄGE, MEINE SEEL” GENE STENGER,TENOR NO. 30. “ES IST VOLLBRACHT" JAY CARTER, COUNTERTENOR NO. 32. "MEIN TEURER HEILAND" ELIJAH BLAISDELL, BARITONE NO. 40. “ZERFLIESSE, MEIN HERZE” JOSEFIEN STOPPELENBURG, SOPRANO “DIE WELT MIT ALLEN KÖNIGREICHEN” FROM CANTATA: WER MICH LIEBET, DER WIRD MEIN WORT HALTEN, BWV 59, J.S. BACH ALEXANDER DOBSON, BASS “FROHE HIRTEN, EILT, ACH EILET" FROM CHRISTMAS ORATORIO, BWV 248. J.S. BACH GENE STENGER, TENOR ARTISTIC BIOGRAPHIES A. DENNIS SPARGER, MUSIC DIRECTOR & CONDUCTOR DENNIS SPARGER WAS CRITICALLY ACCLAIMED ALREADY IN HIS SECOND SEASON AS “A CONDUCTOR EQUIPPED WITH INSIGHT AS WELL AS CRAFTSMANSHIP.” IN THE PAST THREE AND A HALF DECADES HE HAS RECEIVED EVEN MORE PRAISE FOR HIS PERFORMANCES WITH THE BACH SOCIETY CHORUS AND ORCHESTRA, CONDUCTING THEM IN WELL OVER 175 PERFORMANCES OF MAJOR WORKS BY BACH AND OTHER COMPOSERS.
    [Show full text]
  • Autobiography in Cocteau's and Poulenc's La Voix Humaine Keith Clifton
    Document généré le 26 sept. 2021 00:10 Canadian University Music Review Revue de musique des universités canadiennes Mots cachés: Autobiography in Cocteau's and Poulenc's La Voix humaine Keith Clifton Jean Cocteau: Evangelist of the Avant-garde Résumé de l'article Jean Cocteau : évangéliste de l’avant-garde L’opéra Dialogues des Carmélites de Poulenc a toujours été considéré comme le Volume 22, numéro 1, 2001 sommet de son œuvre opératique. Il est résulté d’une telle appréciation qu’on a négligé son dernier opéra, La Voix humaine, sur un livret de Cocteau, et que URI : https://id.erudit.org/iderudit/1014499ar l’élan qui a présidé à sa composition a été mal cerné. Musicalement, La Voix DOI : https://doi.org/10.7202/1014499ar humaine déploie un langage tonal complexe sans précédent dans l’arsenal de composition de Poulenc. Sans prétendre que Poulenc ait composé La Voix humaine par loyauté envers Cocteau, je soutiens plutôt que l’opéra représente Aller au sommaire du numéro la dernière tentative de Poulenc pour accepter son homosexualité. De nombreuses références mises en correspondance révèlent que l’opéra est un reflet de la vie émotive de Poulenc. L’emploi par Poulenc et Cocteau de Éditeur(s) manières efféminées propres aux gays renseigne sur l’œuvre et donne un aperçu de possibles significations sous-entendues. Un examen attentif de cette Canadian University Music Society / Société de musique des universités œuvre négligée jette un nouvel éclairage sur la personnalité tourmentée et canadiennes insaisissable de Poulenc. ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Clifton, K.
    [Show full text]
  • Hans Werner Henze Und Ingeborg Bachmann: Die Gemeinsamen Werke
    Christian Bielefeldt Hans Werner Henze und Ingeborg Bachmann: Die gemeinsamen Werke Christian Bielefeldt, Dr. phil., Studium in Hamburg, Tätigkeit als Theatercellist, 1994 Gründung von TRE MODI, Ensemble für Alte und Neue Musik. 1998-2000 Stipendiat am DFG-Graduiertenkolleg »In- termedialität« (Siegen). Veröffentlichungen zu Neuer Musik und Filmmusik. Christian Bielefeldt Hans Werner Henze und Ingeborg Bachmann: Die gemeinsamen Werke Beobachtungen zur Intermedialität von Musik und Dichtung Der Abdruck von Zitaten aus dem unveröffentlichten Nachlass Inge- borg Bachmanns geschieht mit ausdrücklicher Erlaubnis der Erben, bei denen die Abdruckrechte gleichwohl verbleiben. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. © 2003 transcript Verlag, Bielefeld Umschlaggestaltung: Kordula Röckenhaus, Bielefeld, unter Verwendung einer Partiturseite aus: Hans Werner Henze, Reinschrift der Musik zu Ingeborg Bachmanns Hörspiel »Die Zikaden« (1955/56), S. 1; © Sammlung Hans Werner Henze (Depositum Schott Musik International), Paul Sacher Stiftung, Basel Lektorat & Satz: Christian Bielefeldt Druck: Majuskel Medienproduktion GmbH, Wetzlar ISBN 3-89942-136-1 INHALT Vorwort 9 Biographisches 14 Zur Forschung 17 I. Konzepte von Intermedialität bei Henze und Bachmann 21 Erster Auftakt: Die Konstruktion der Überschreitung 27 Lacan. Sprache, Musik und das Genießen 31 Der Braunschweiger Vortrag: Henzes „geistige Rede der Musik“ 37 Zweiter Auftakt: Die menschliche Stimme 43 Barthes. Die Stimme und das Genießen 45 Musik und Dichtung: Die Intermedialität der Stimme 49 II. Ballettpantomime: Der Idiot 57 Musik aus der Hand der Trauer: Reihen- und Zitattechnik im Idioten 62 Intrada und Danse Nr.
    [Show full text]
  • Senior Recital Lauren Carroll, Soprano Amelia Hammond, Piano
    Senior Recital Lauren Carroll, soprano with Amelia Hammond, piano Saturday, May 8, 2021 Sheslow Auditorium in Old Main 7:30 p.m. Chi il bel sogno di Doretta Giacomo Puccini from La rondine (1858-1924) Ein Traum Edvard Grieg Sechs Lieder, Op. 48 (1843-1907) Nachtgebet Joseph Marx (1882-1964) Cäcilie Richard Strauss (1864-1949) Depuis le jour Gustave Charpentier from Louise (1860-1956) Intermission Si, mi chiamano Mimì Giacomo Puccini from La bohéme (1858-1924) Lyric for Truelove Undine Smith-Moore (1904-1989) Monna Innominata Eric Barnum (b. 1979) Touch me Tom Cipullo Late Summer No. 4 (b. 1956) How fair this spot! (Zdes' khorosho!) Sergei Rachmaninoff 12 Romances, Op. 21, No. 7 (1873-1941) A-oo! (Ay-u!) 6 Romances, Op. 38 Spring Waters (Vesennije vody) Op. 14, No. 11 About the Artist Lauren Carroll, soprano is a senior Vocal Performance major and studies under the tutelage of Leanne Freeman- Miller. She is involved in the Drake Opera Theater, Drake Choir and Spēro. Lauren has been featured in operatic roles such as Pamina (Die Zauberflöte), Fiordiligi (Così fan tutte), and Alice Ford (Falstaff). Most recently, Lauren received First Prize in the National MTNA Competition and First Prize in the Schubert Club Competition. Following graduation, Lauren will take part in Houston Grand Opera’s Young Artist Vocal Academy program. In the fall, Lauren will begin her studies at The Shepherd School of Music at Rice University where she will begin pursuing her Master of Music in Vocal Performance. Amelia Hammond is a graduate of Drake University with a Bachelor of Music degree in Piano Performance under the tutelage of Dr.
    [Show full text]
  • Casting 2021-2022
    CMU OPERA 2021-2022 La Finta Giardiniera, Mozart Nic Cory, director Thomas W. Douglas, conductor October 28-31, 2021 ALL CASTING IS SUBJECT TO CHANGE Don Anchise, tenor Thomas Fong, Alana Smith MJ Lintern – cover Sandrina, soprano Kaya Giroux, Julia Timmons Arminda, soprano Daniella Brancato, Alexandra Zallo Count Belfiore, tenor Daniel Miller Michael Vallikappil Ramiro, mezzo Lucy Altus Brianna Dulock Megan Julien – cover Serpetta, soprano Emma Rogers, Olivia Gesualdi Sydney Fabregas – cover Nardo, baritone Michael Madison Brennan Brown L’enfant et les sortileges, Ravel Katherine Carter, director Dimitrii Papadimitriou, conductor January 27-30, 2022 L’enfant, the child, mezzo Sadye Sobel, Megan Julien Maman, the mother, mezzo Grace Alai, Loghan Wright Le fauteuil, the armchair, bass Bryan Bennett La bergère Louis XV, the armchair, soprano Kaya Giroux Daniella Brancato L’horologe comtoise, a grandfather clock, baritone Jordy Betancourt-Vargas Le feu, the fire, soprano Leah Huber, Zofia Majewski La princesse, the princess, soprano Morgan Dodds, Sydney Fabregas Une pastourelle, shepherdess, soprano Kaya Giroux, Daniella Brancato Un pâtre, shepherd, Lucy Altus Le petit vieillard, little old man, tenor Zachary Smith, Jacob Berger Le chat, the cat, Nathaniel McBride La chatte, the cat, mezzo Lucy Altus La chouette an owl, soprano Kaya Giroux, Daniella Brancato L’arbre, a tree, baritone Jordy Betancourt -Vargas La libellule, a dragonfly, mezzo Loghan Wright, Grace Alai Le rossignol, a nightingale, soprano Leah Huber, Zofia Majewski Le chauve-souris,
    [Show full text]
  • La Voix Humaine Digital Premiere Oct
    Francis Poulenc La Voix HumaIne Digital Premiere Oct. 24, 2020 | 7:30pm 2020–2021 DIGITAL SEASON REIMAGINED FOR THE SCREEN CANADA’S ONLY 5-TIME WINNER OF WINERY OF THE YEAR Since 1981, Mission Hill Family Estate has pioneered British Columbia’s Okanagan Valley as a premium wine making region. Founded by Proprietor Anthony von Mandl, the iconic family-owned winery is known as Canada’s only 5-time winner of the Winery of the Year Award by WineAlign Canada. Guests can experience international award-wining wines and indulge in an epicurean adventure all while enjoying the panoramic views of mountains, lakes, and vineyards. MISSIONHILLWINERY.COM Francis Poulenc La Voix HumaIne Tom Wright, General Director Jonathan Darlington, Music Director Emeritus CONTENTS VO Administration and Ticket Centre 6 Cast & Creative 19 Behind the Scenes The Michael and Inna O’Brian Centre for Team Vancouver Opera 21 Patron Information 1945 McLean Drive 7 Production Team Vancouver, BC, V5N 3J7 22 VO Board & Staff Administration 8 Synopsis T: 604 682 2871 F: 604 682 3981 9 Notes from the Creative Team VO Ticket Centre Sponsored by Mission Hill Family Estate T: 604 683 0222 10 Biographies [email protected] www.vancouveropera.ca 15 Opera in Context 16 Opera Allsorts Vancouver Opera acknowledges that we work and perform on the unceded and traditional territory of the Musqueam, Squamish, and Tsleil-Waututh First Nations. Publication Manager Vincent Wong Design & Layout Annie Mack Vancouver Opera is a professional company. It operates under the jurisdiction of Canadian Actors’ Equity Association, Vancouver Musicians’ Association, and IATSE, and is a member of OPERA America and Opera.ca 2020–2021 DIGITAL SEASON Privacy Vancouver Opera is committed to REIMAGINED FOR THE SCREEN protecting your privacy.
    [Show full text]
  • September 2015
    September 2015 Jean-Guihen Queyras INSIDE: Florian Boesch | Borodin Quartet Cuarteto Casals | Michael Collins Iestyn Davies | James Ehnes The English Concert | Pavel Haas Quartet Mark Padmore & Kristian Bezuidenhout Wigmore Hall /Kohn Foundation International Song Competition and many more Box Office 020 7935 2141 Online Booking www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office 36 Wigmore Street, London W1U 2BP In Person 7 days a week: 10 am – 8.30 pm. Days without an evening concert 10 am – 5 pm. No advance booking in the half hour prior to a concert. Please note that the Box Office with be closed for bookings in person from Monday 27 July to Friday 4 September. By Telephone: 020 7935 2141 7 days a week: 10 am – 7 pm. Days without an evening concert 10 am – 5 pm. There is a non-refundable £3.00 administration fee for each transaction, which includes the return of your tickets by post if time permits. Online: www.wigmore-hall.org.uk 7 days a week; 24 hours a day. There is a non-refundable £2.00 administration charge. Standby Tickets Standby tickets for students, senior citizens and the unemployed are available from one hour before the performance (subject to availability) with best available seats sold at the lowest price. NB standby tickets are not available for Lunchtime and Coffee Concerts. Group Discounts Discounts of 10% are available for groups of 12 or more, subject to availability. Latecomers Latecomers will only be admitted during a suitable pause in the performance. Facilities for Disabled People full details available from 020 7935 2141 or [email protected] Wigmore Hall has been awarded the Bronze Charter Mark from Attitude is Everything TICKETS Unless otherwise stated, tickets are A–D divided into five prices ranges: BALCONY Stalls C – M W–Y Highest price T–V Stalls A – B, N – P Q–S 2nd highest price Balcony A – D N–P 2nd highest price STALLS Stalls BB, CC, Q – S C–M 3rd highest price A–B Stalls AA, T – V CC CC 4th highest price BB BB PLATFORM Stalls W – Y AAAA AAAA Lowest price This brochure is available in alternative formats.
    [Show full text]