DOCSLIB.ORG

Beatrix Cenci

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beatrix Cenci 2016 ÓPERA Beatrix Cenci ALBERTO GINASTERA JEFE DE GOBIERNO Horacio Rodríguez Larreta VICEJEFE DE GOBIERNO Diego Santilli JEFE DE GABINETE Felipe Miguel MINISTRO DE CULTURA Darío Lopérfido DIRECTORA GENERAL DIRECTOR ARTÍSTICO María Victoria Alcaraz Darío Lopérfido TEATRO COLÓN DIRECTORA GENERAL DIRECTOR ARTÍSTICO María Victoria Alcaraz Darío Lopérfido DIRECTORA EJECUTIVA DIRECTOR GENERAL GERENTE GENERAL María Videla Rivero DE PRODUCCIÓN ARTÍSTICA Cristian Mealla Guillermo Scarabino DIRECTORES VOCALES JEFE DE GABINETE Carlos Lorenzetti DIRECTORA GENERAL ESCENOTÉCNICA Juan García Aramburu Eugenia Schvartzman María Cremonte Hugo Gervini DIRECTORA GENERAL TÉCNICA, ADMINISTRATIVA Y LEGAL Carolina Clavero DIRECTORA DE ESTUDIOS MUSICALES DIRECTOR DEL CENTRO DE DIRECTOR GENERAL DE PLANEAMIENTO Eduviges Picone EXPERIMENTACIÓN Bruno Faccone Miguel Galperin DIRECTOR DEL BALLET ESTABLE DIRECTORA DE RELACIONES Maximiliano Guerra DIRECTOR DEL PROGRAMA INTERNACIONALES COLÓN CONTEMPORÁNEO Zulema Scarabino Martín Bauer DIRECTOR DE LA ORQUESTA FILARMÓNICA DE BUENOS AIRES DIRECTOR TÉCNICO OPERATIVO Enrique Arturo Diemecke DIRECTOR DEL INSTITUTO Juan Manuel López Castro SUPERIOR DE ARTE Claudio Alsuyet DIRECTORA EJECUTIVA DE LA ORQUESTA UNIDAD DE AUDITORÍA INTERNA FILARMÓNICA DE BUENOS AIRES Isabel Valente Diana Canela DIRECTOR DEL CORO DE NIÑOS César Bustamante UNIDAD DE CONTROL DE GESTIÓN DIRECTOR DEL CORO ESTABLE Manuela Cantarelli Miguel Martínez DIRECTORA GENERAL DE RECURSOS HUMANOS Elisabeth Sarmiento Matías Cambiasso | COORDINADOR GENERAL DE ESCENARIO Hugo García | JEFE DE PRENSA Daniel Varacalli Costas | PUBLICACIONES Beatrix Cenci ÓPERA EN DOS ACTOS Y CATORCE ESCENAS (1971) MÚSICA DE ALBERTO GINASTERA LIBRETO DE WILLIAM SHAND Y ALBERTO GIRRI BASADO EN LAS CRÓNICAS ITALIANAS DE STENDHAL Y LOS CENCI DE PERCY BYSSHE SHELLEY PRODUCCIÓN TEATRO COLÓN DIRECTOR MUSICAL ASISTENTE DE ESCENOGRAFÍA DISEÑO DE ILUMINACIÓN Guillermo Scarabino Martina Nosetto David Seldes ASISTENTE DE VESTUARIO DIRECCIÓN DE ESCENA DISEÑO DE PROYECCIONES César Taibo Alejandro Tantanian Maxi Vecco ASISTENTE DE ILUMINACIÓN ASISTENTE DE DIRECCIÓN DE ESCENA Facundo David Mariana Ciolfi DISEÑO DE ESCENOGRAFÍA Y VESTUARIO BEATRIX CENCI Oria Puppo EDITOR ORIGINAL: BOOSEY & HAWKES. REPRESENTANTE EXCLUSIVO: BARRY EDITORIAL. Con Beatrix Cenci, el Teatro Colón inicia las celebraciones por el centenario del nacimiento de Alberto Ginastera, que continuarán a lo largo del año con varias propuestas. FE | Función Extraordinaria MARZO MARTES 15, 20h FE | VIERNES 18, 20h FE | DOMINGO 20, 17h FE Duración total: 1h 30 m sin intervalo Ópera | 9 DIRECCIÓN DE ESTUDIOS MUSICALES REPARTO DIRECTORA DE ESTUDIOS MUSICALES Eduviges Picone BEATRIX CENCI Mónica Ferracani Daniela Tabernig * SUSANA FRANGI - MARCELO AYUB -EDUVIGES PICONE | MAESTROS PREPARADORES CECILIA VARELA - LEONARDO MARCONI | MAESTROS DE ESCENARIO CONDE FRANCISCO CENCI Victor Torres GUILLERMO BRIZZIO | MAESTRO APUNTADOR Leonardo Estévez * GUILLERMO SALGADO | ASISTENCIA MUSICAL DE LUCES Y PROYECCIONES MÓNICA ZAIONZ | TRADUCCIÓN Y ADAPTACIÓN PARA SOBRETITULADO LUCREZIA Alejandra Malvino ANDREA MIJAILOVSKY | ASISTENTE TÉCNICO MUSICAL DE ESCENA María Luján Mirabelli * MAESTROS PREPARADORES DEL REPERTORIO LÍRICO BERNARDO Florencia Machado Irene Amerio, Marcelo Ayub, Guillermo Brizzio, Reinaldo Censabella, Bruno D’Astoli, Rocío Arbizu * Cecilia Fracchia, Susana Frangi, Leonardo Marconi, Miguel Martínez, Horacio Rogner, Iván Rutkauskas, Guillermo Salgado, Elvio Suárez, Jorge Ugartamendía, Cecilia Varela ORSINO Gustavo López Manzitti Fernando Chalabe * COORDINADORA DE PRODUCCIÓN ESCÉNICA Mariana Ciolfi ANDREA Mario De Salvo María Armanini Emiliano Bulacios * COORDINADOR DE ARTISTAS Y MAESTROS Sebastián Nicolás GIACOMO Alejandro Spies ASISTENTE DE COORDINACIÓN DE DIRECCIÓN DE ESTUDIOS TRES INVITADOS Sebastián Sorarrain, Iván Maier Luciana Zambarbieri Victor Castells OLIMPIO Alejandro Escaño Manzano COORDINACIÓN GENERAL DEL ESCENARIO MARZIO Ernesto Donegana COORDINADOR GENERAL Matías Cambiasso COORDINADORES PRINCIPALES Marcelo Mora- Juan Carlos Zambarbieri ORQUESTA ESTABLE DEL TEATRO COLÓN AYUDANTE DE COORDINACIÓN CORO ESTABLE DEL TEATRO COLÓN Rodrigo García * Reparto del 20 de marzo 10 | Ópera Ópera | 11 Guillermo Scarabino DIRECTOR MUSICAL ESTUDIOS Cuenta con una sólida formación que incluye clases magistrales en el país y en el exterior. títulos de grado en Composición en la Además, tuvo a su cargo la cátedra de Dirección Universidad Nacional de Rosario (Argentina), Orquestal en las universidades Nacional de y de posgrado en Teoría Musical en la Eastman La Plata y en la Católica Argentina, donde fue School of Music de la Universidad de Rochester Decano de la Facultad de Artes y Ciencias (Estados Unidos). Estudió dirección orquestal Musicales y es actualmente Profesor Consulto. con maestros como Washington Castro, Laszlo Halasz, Igor Markevitch y Hans Swarowsky. PUBLICACIONES, DISTINCIONES Y CARGOS Escribió diversos artículos sobre análisis y ORQUESTAS hermenéutica musical, además de libros sobre En Argentina fue titular de las orquestas de Mar Alberto Ginastera, el Grupo Renovación y la Dirección del Plata y de la Universidad Nacional de Cuyo, Orquestal, publicados por EDUCA. Recibió premios Mendoza. Actuó como director huésped en América y diplomas de la Fundación Héctor I. Astengo (Rosario), y Europa y, al frente de la Orquesta Académica del la Fundación Konex (Buenos Aires) y la Asociación Teatro Colón -con la que estuvo vinculado siete de Críticos Musicales de Argentina, además de años desde su creación-, realizó presentaciones en distinciones otorgadas por entidades de varios el Festival Internacional de Canterbury (Inglaterra) países de América Latina y Europa. Integró el jurado y en la Exposición Mundial de Hannover (Alemania). del Concurso Internacional Alberto Ginastera en sus ediciones de Buenos Aires, Madrid y Las Palmas DOCENCIA de Gran Canaria. Es Académico de Número de La pedagogía de la dirección orquestal ocupó un la Academia Nacional de Bellas Artes y Director lugar destacado en su trayectoria. Dictó cursos de Producción Artística del Teatro especiales (de verano y magistrales), programas Colón de Buenos Aires. de especialización y de perfeccionamiento y 12 | Ópera Ópera | 13 Alejandro Oria Tantanian Puppo DIRECTOR DE ESCENA DISEÑO DE ESCENOGRAFÍA Y VESTUARIO TRAYECTORIA ÓPERA Y TEATRO Nacido en Buenos Aires en 1966, es régisseur, director, de Tiziano Manca con libreto propio; y los estrenos Algunos de sus trabajos como escenógrafa y/o Lille, Francia); Fuego en Casabindo, de Héctor Tizón, autor, docente, actor y cantante, además de curador argentinos de Lohengrin, de Salvatore Sciarrino; y vestuarista son Battelfield, dirección de Peter Brook dirección musical de Carlos Calleja, régie de Alejandro de Artes Teatrales del Museo de Arte Moderno de Anything Goes, de Cole Porter. Escribió los libretos y Marie Hélene Estienne, Théatre des Bouffes du Tantanian, Teatro Colón (Buenos Aires), Lohengrin Buenos Aires (MAMBA). Participó en más de sesenta de Instante y Fábula, ambas de Oscar Strasnoy; Clone, Nord (Paris); Marcel, dirección de Joss Houben y de Salvatore Sciarrino, régie de Alejandro Tantanian, festivales internacionales y ganó numerosos premios de Antonio Zimmermann sobre el cuento de Julio Marcello Magni, Théatre des Bouffes du Nord (Paris); C.E.T.C. (Buenos Aires). Actualmente se encuentra nacionales. Sus piezas han sido estrenadas en el país Cortázar; Liederkreis (Una ópera sobre Schumann), de Anything goes, dirección de Alejandro Tantanian, preparando diversos espectáculos en Francia y y en el exterior, y traducidas a diversos idiomas. Gerardo Gandini; y Tenebrae, de Alejo Pérez. Teatro El Nacional (Buenos Aires); The Suit, dirección Argentina. Funda en 2010, junto a Cynthia Edul, Panorama Sur, de Peter Brook y Marie Hélene Estienne, Théatre la plataforma de formación e intercambio para TEATRO des Bouffes du Nord (Paris); La résurrection, de EXPOSICIONES INDIVIDUALES artistas con sede en la ciudad de Buenos Aires, Como director estrenó piezas como Patricio Haendel, dirección de Lilo Baur, Opéra Bastille (Paris); Se destacan (otros) deslenguajes, instalación desempeñándose como director artístico. Contreras dice Nicanor Parra, sobre textos del poeta La ópera de tres centavos, dirección de Alejandro plástica y sonora (Centro Cultural Recoleta, 2001) y chileno; Almas Ardientes, de Santiago Loza; El rastro, Tantanian, Nationaltheater Mannheim (Alemania); Deslenguajes: de la palabra a la imagen (en el marco ÓPERAS de Margo Glantz; Las Islas, de Carlos Gamerro; Yevgeny Onyegin, régie de Rita Cosentino, Teatro del ciclo Escenógrafos, vestuaristas, iluminadores , Entre sus trabajos como régisseur figuran el estreno Blackbird y Cuchillos en gallinas, ambas de David Avenida (Buenos Aires), El caso Elsa sobre Recitaciones Babilonia, 1998.) argentino de Luci mie traditrici, de Salvatore Sciarrino; Harrower; Los Sensuales y Los Mansos, ambas de de Aphergis, régie de Alejandro Tantanian, C.E.T.C El caso Elsa, sobre Recitaciones de G. Aperghis; su autoría. En forma paralela, presentó trabajos en (Buenos Aires); La gabbia, dirección Musical de Fuego en Casabindo, de Virtú Maragno; La Gabbia, Alemania, Suiza y Francia. Tiziano Manca, régie de Alejandro Tantanian, Theaterhaus (Stuttgart, Alemania y Opera de Lille, 14 | Ópera Ópera | 15 Miguel Martínez DIRECTOR DEL CORO ESTABLE ESTUDIOS de Mozart; Diálogo de Carmelitas, de Poulenc; Nació en la ciudad de Quilmes y allí, en la Escuela y Doña Francisquita,de Vives. En 2002 ganó el
Load more

Recommended publications
  • Bomarzo - Opera En 2 Actos Y 15 Cuadros
    Bomarzo - Opera en 2 actos y 15 cuadros Alberto Ginastera Libreto de Manuel Mujica Láinez Basada en su novela homónima del escritor Obra encargada por Hobart Spalding, presidente de la Opera Society de Washington. Estrenado: 19 mayo 1967, Washington DC, Lisner Auditorium, con dirección de Julius Rudel, Regie de Tito Cappobianco. Intérpretes: Salvador Novoa, Isabel Penagos, Joanna Simon, Claramae Turner. Estreno Sudamericano, Teatro Colón, 1972 El argumento narra la vida de Pier Francesco Orsini, duque de Bomarzo, perteneciente a una noble familia romana, de cuya historia real existen pocos datos y por esto mismo resulta el personaje ideal para ser recreado por el escritor Manuel Mujica Láinez (1910-1984) que le da una nueva vida, literaria pero verosímil, rescatándolo así del anonimato. El protagonista da pie para evocar a toda una serie de personajes históricos que componen un impresionante fresco del Renacimiento italiano tardío, el del siglo XVI, conocido allí como“cinquecento”. Siglo XVI. El Duque de Bomarzo, Pier Francesco Orsini, cuyo aspecto y pecados se reflejan en las figuras de piedra en su jardín, bebe una poción para conseguir la inmortalidad, pero es envenenado. Ve pasar distintos episodios de su vida pasada, su infancia despreciada, su horóscopo siniestro, su unión con una cortesana, la provocación de su padre, su fracaso al tratar de salvar a su hermano de la muerte en el Tiber, y en consecuencia, su reinado como Duque, con sus celos y asesinatos. Ambientada en la Italia renacentista es una minuciosa reconstrucción del ambiente que dominaba aquel entonces en el mundo de los condottieri, prelados, artistas y hombres del pueblo.
    [Show full text]
  • UNIVERSITY of CALIFORNIA RIVERSIDE the 1964 Festival Of
    UNIVERSITY OF CALIFORNIA RIVERSIDE The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Alyson Marie Payne September 2012 Dissertation Committee: Dr. Leonora Saavedra, Chairperson Dr. Walter Clark Dr. Rogerio Budasz Copyright by Alyson Marie Payne 2012 The Dissertation of Alyson Marie Payne is approved: ______________________________________________________________ ______________________________________________________________ _______________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgments I would like to acknowledge the tremendous help of my dissertation committee, Dr. Leonora Saavedra, Dr. Walter Clark, and Dr. Rogerio Budasz. I am also grateful for those that took time to share their first-hand knowledge with me, such as Aurelio de la Vega, Juan Orrego Salas, Pozzi Escot, and Manuel Halffter. I could not have completed this project with the support of my friends and colleagues, especially Dr. Jacky Avila. I am thankful to my husband, Daniel McDonough, who always lent a ready ear. Lastly, I am thankful to my parents, Richard and Phyllis Payne for their unwavering belief in me. iv ABSTRACT OF THE DISSERTATION The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics by Alyson Marie Payne Doctor of Philosophy, Graduate Program in Music University of California, Riverside, September 2012 Dr. Leonora Saavedra, Chairperson In 1964, the Organization of American States (OAS) and the Institute for Hispanic Culture (ICH) sponsored a lavish music festival in Madrid that showcased the latest avant-garde compositions from the United States, Latin America, and Spain.
    [Show full text]
  • Central Opera Service Bulletin
    CENTRAL OPERA SERVICE BULLETIN SEPTEM BER-OCTOBER, 1967 COS NATIONAL CONFERENCE—APRIL 11-12, 1968, SAN ANTONIO, TEXAS Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plan • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 CENTRAL OPERA SERVICE COMMITTEE R. L. B. TOBIN, National Chairman The National Council JULIUS RUDEL, Co-Chairman New York City Opera National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN GEORGE HOWERTON E. H. CORRIGAN, JR. ELIHU M. HYNDMAN MRS. NORRIS DARRELL MRS. JOHN R. SAVAGE HOWARD J. HOOK, JR. JAMES SCHWABACHER, JR. Professional Committee MAURICE ABRAVANEL RICHARD KARP Salt Lake City Symphony Pittsburgh Opera KURT HERBERT ADLER PAUL KNOWLES San Francisco Opera University of Minnesota VICTOR ALESSANDRO GLADYS MATHEW San Antonio Symphony Community Opera ROBERT G. ANDERSON MRS. LOUDON MELLEN Tulsa Opera Opera Soc. of Wash., D.C. WILFRED C. BAIN ELEMER NAGY Indiana University Hartt College of Music ROBERT BAUSTIAN MME. ROSE PALMAI-TENSER Santa Fe Opera Mobile Opera Guild MORITZ BOMHARD RUSSELL D. PATTERSON Kentucky Opera Kansas City Lyric Theatre JOHN BROWNLEE MRS. JOHN DEWITT PELTZ Manhattan School of Music Metropolitan Opera PAUL CALLAWAY GEORGE SCHICK Opera Soc. of Wash., D.C. Metropolitan Opera STANLEY CHAPPLE MARK SCHUBART University of Washington Lincoln Center EUGENE CONLEY MRS. L. S. STEMMONS No. Texas State Univ. Dallas Civic Opera WALTER DUCLOUX LEONARD TREASH University of S. California Eastman School of Music PETER PAUL FUCHS LUCAS UNDERWOOD Louisiana State University College of the Pacific ROBERT GAY GID WALDROP Northwestern University Juilliard School of Music BORIS GOLDOVSKY MRS. J. P. WALLACE Goldovsky Opera Theatre Shreveport Civic Opera WALTER HERBERT MRS.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
    BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 PRELUDE CONCERT III ^ Thursday, January 21, at 6 COMMUNITY CHAMBER CONCERT II Sunday, January 24, at 3, at the Museum of Afro American History, Boston The Community Chamber Concerts are supported by State Street Bank. CHAMBER MUSIC TEA III Friday, January 29, at 2:30 LUCY SHELTON, soprano NANCY BRACKEN, violin FENWICK SMITH, flute EDWARD GAZOULEAS, viola FRANK EPSTEIN, percussion CAROL PROCTER, cello ANN HOBSON PILOT, harp ANDERSON Vocalise for violin and harp (1980) THOMSON Five Phrases from Song of Solomon, for soprano and percussion Thou that dwellest in the gardens Return, O, Shulamite! O, my dove I am my beloved's By night on my bed LUCY SHELTON, soprano WILLIAMS "Adolescence/' for soprano, flute, and cello, from Seven for Luck (1998) Ms. SHELTON ROUSSEL Serenade, Opus 30, for flute, harp, violin, viola, and cello Allegro Andante Presto GINASTERA Cantos del Tucuman (1938), for soprano, flute, violin, harp, and percussion Yo naci en el valle Solita su alma Vida, vidita, vidala, vidalita Algarrobo, algarrobal Ms SHELTON HM Weeks 13/14 TNf mm NOTES Thomas Jefferson Anderson was born August 17, 1928, in Coatesville, Pennsylva- nia. He was the first black composer-in-residence at the Atlanta Symphony Orches- tra, holding that post from 1969 to 1971. He then served as chairman of the music department at Tufts University in Somerville, MA, from 1972 to 1980. As with many American composers of his generation, jazz was a big influence, and Anderson toured with a jazz band in his youth.
    [Show full text]
  • Anthony Di Bonaventura Aurora Natola-Ginastera
    _ THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Anthony di Bonaventura Pianist Aurora Natola-Ginastera Cellist SUNDAY AFTERNOON, OCTOBER 18, 1981, AT 4:00 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Sonata in D major, K. 576 MOZART Allegro Adagio Allegretto Piano Sonata No. 1 (1952) . ALBERTO GINASTERA Allegro marcato Presto misterioso Adagio molto appassionato Ruvido ed ostinato INTERMISSION Suite No. 3 in C major for unaccompanied cello . BACH Praeludium Bouree I Allemande Bouree II Courante Gigue Sarabande Sonata No. 1, Op. 49, for Cello and Piano (1979) GINASTERA Allegro deciso Adagio passionate Presto momoroso allegro con fuoco Mr. di Bonaventura: Columbia, RCA, Connoisseur Society, and Sine Qua Non Records. Ninth Concert of the 103rd Season Sixth Annual Debut & Encore Series About the Artists We are privileged to have Alberto Ginastera, Argentina's leading composer, in our audience today for the first of two concerts featuring his music (see further information below) during his visit to the U-M campus. The world premiere of his Second Piano Sonata originally scheduled for this afternoon, has been rescheduled, thus giving concertgoers the opportunity to hear both Ginastera piano sonatas No. 1 this afternoon, and the new Sonata No. 2 in January. Anthony di Bonaventura will return to Ann Arbor to give this premiere on Friday, January 29 at 8:00 p.m. in Rackham Auditorium. Immediately following the performance, the pianist will conduct a master class for U-M School of Music students. All are invited to attend the premiere and the master class, both of which will be free and open to the public.
    [Show full text]
  • Ginastera US 9/20/06 10:31 AM Page 8
    557582 bk Ginastera US 9/20/06 10:31 AM Page 8 Gisèle Ben-Dor A formidable and incandescent presence on the podium, conductor Gisèle Ben-Dor has won high critical acclaim GINASTERA for her appearances as guest conductor with major orchestras and opera houses throughout the world and as Music Director of the Santa Barbara (CA) Symphony, of which she became Conductor Laureate in 2006. Although she is a master conductor of the established classics, as a Uruguayan by birth and upbringing she is a particularly persuasive Panambí • Estancia champion of Latin American music, notably the works of Ginastera, Revueltas, Piazzolla, and Luis Bacalov, and is widely regarded as one of the world’s most dedicated and idiomatic exponents of this repertoire on account of her many recordings and festivals. In demand internationally, Gisèle Ben-Dor has worked with the Rotterdam (Complete Ballets) Philharmonic, Bern Symphony, Brabant Symphony, Jerusalem Symphony, Orchestre de Cannes as well as others in France, Israel and the United States. She has led the New York Philharmonic, London Symphony, London Luis Gaeta, Narrator/Bass-baritone Philharmonic, English Chamber Orchestra, BBC NOW, Los Angeles Philharmonic, Boston Pops, New World Symphony, Israel Philharmonic, Israel Chamber Orchestra, Helsinki Philharmonic, Houston Symphony, Minnesota Orchestra and Orchestre de la Suisse Romande among many others in the United States, Europe, Australia, and London Symphony Orchestra • Gisèle Ben-Dor Latin America. A former associate conductor of the New York Philharmonic, Gisèle Ben-Dor returned to the Philharmonic in 1999 to substitute for Daniele Gatti in a programme of Mahler and Beethoven, without a rehearsal or scores (a feat which she had accomplished earlier by stepping in at the last minute for Kurt Masur).
    [Show full text]
  • TEM Issue 105 Cover and Back Matter
    Tempo A QUARTERLY REVIEW OF MODERN MUSIC EDITED BV DAVID DREW Price 4op (plus postage)—Annual Subscription £1-7$ (post free) Overseas Subscription Offices AUSTRALIA Boosey & Hawkes (Australia) Pty. Ltd. 16/28 Whitling Street, Artamon N.S.W. CANADA Boosey & Hawkes (Canada) Ltd. 279 Yorkland Boulevard, Willowdale 42;, Ontario FRANCE Boosey & Hawkes S.A. 4 rue Drouot, Paris 9e GERMANY Boosey & Hawkes Gmb.H Kronprinzenstrasse 26, ({3) Bonn SOUTH AFRICA Boosey & Hawkes (South Africa) Pty. Ltd. 182 Smitt Street, Braamfontein, Johannesburg U.S.A. Boosey & Hawkes Inc. 30 West J7th Street, New York 10019 RECENT ISSUES (1971-72) INCLUDE : 97 Stravinsky Memorial Issue, with articles and a 28-page musical supplement con- taining a set of Canons and Epitaphs (for chamber ensemble) contributed by Berio, Berkeley, Birtwistle, Blacher, Denisov, Maw, Maxwell Davies, Tippett, Schnittke, and Wood—reproduced from the autographs. 98 An appreciation of Ernst Roth, with unpublished letters by Strauss, Stravinsky, Kodaly. Also set 2 of the Canons and Epitaphs—by Boulez, Carter, Copland, Goehr, Lutyens, Milhaud, Sessions. 99 Articles on Schoenberg, Berg and Webern; Dallapiccola, 'Pages from a Diary'; Conversation with Leopold Spinner. 100 A Retrospect, 1939-1972: articles by Roberto Gerhard, Matyas Seiber, Peter Garvie, Hans Keller, and Colin Mason. Reviews of Gerhard's Fourth Symphony and Anthony Payne's Paean. Musical Supplement (Maxwell Davies). 101 A Survey: Maxwell Davies's new opera, Taverner, with articles by the composer" Stephen Arnold, and Gabriel Josipovici. Also a major study by David Josephson: 'The Historical John Taverner'. 102 Claudio Spies on the Stravinsky Exhibition at the Lincoln Centre; Elliott Carter on Stefan Wolpc; Joseph Kerman reviews Taverner.
    [Show full text]
  • THE RECORD COLLECTOR MAGAZINE Given Below Is the Featured Artist(S) of Each Issue (D=Discography, B=Biographical Information)
    PRINTED MATERIAL DISCOGRAPHICAL & REFERENCE BOOKS, BIOGRAPHIES; RECORD CATALOGUES & SUPPLEMENTS Books are all in good, used condition (no damage unless described). DJ = includes Paper Dust Jacket This year’s book list includes a number of important and desirable items. The minimum bids have been kept very low, considering the scarcity of some items and the cost of others which still might be in print. While bargains are indeed possible, I’d suggest, as usual, to bid realistically for those items of particular interest. Bids of any amount are, of course, welcomed. MUSICIAN BIOGRAPHIES/AUTOBIOGRAPHIES 3574. [FRANCES ALDA]. MEN, WOMEN AND TENORS. Autobiography. Riverside Press, Cambridge, MA. 1937. 307 pp. Illustrated. Quite candid jottings for the period. Fun and informative reading. Blank front page removed. Cons. 2. $7.00. 3622. MARIAN ANDERSON – A PORTRAIT (Kosti Vehanen). Whittlesey House, NY. 1941. 270 pp. Blank book plate on inside cover. Just about 1-2. $10.00. 3535. [MARIAN ANDERSON]. MY LORD, WHAT A MORNING. Autobiography. Viking Press, NY. 1956. DJ. Illustrated. 312 pp. Light DJ wear. Book gen. 1-2. $7.00. 3581. MARIAN ANDERSON – A SINGER’S JOURNEY (Allan Keiler). Scribner, NY. 2000. 447 pp. DJ. Just about 1-2. $10.00. 3542. [Sir THOMAS] BEECHAM – A CENTENARY DISCOGRAPHY (Michael Gray). Duckworth, Norwich. 1979. DJ. 129 pp. Light signs of use on DJ. Book is just about 1-2 except for numerous pencil check marks. $6.00. 3550. THE ACCOMPANIST – AN AUTOBIOGRAPHY OF ANDRÉ BENOIST (ed. John Anthony Maltese). Paganiniana Pub., Neptune City, NJ. 1978. 383 pp. Profusely illustrated. A fascinating and extremely candid look at dozens of the vocal and instrumental celebrities with whom Benoist was associated.
    [Show full text]
  • Jenkins Still with the Music
    October 2015 Jenkins Still with the Music Karl Jenkins tells of his life and passion for music in a new autobiography, while Warner Classics releases a box set of his greatest works together with the premiere recording of The Healer. Still with the Music is the new autobiography by To tie in with the book publication, Warner Karl Jenkins, the composer of The Armed Man: Classics has released a new compilation disc A Mass for Peace and Adiemus, written with Sam (2564610053) and a box set entitled Voices Jackson and published by Elliott & Thompson (2564610051). The collection contains seven (978-1783961375). The Welsh-born composer, of Jenkins’s chart-topping discs together with recently knighted in the Queen’s Birthday Honours the first release of his latest work for choir and for “services to composing and crossing musical ensemble, The Healer, a cantata for St Luke. genres”, is one of the world’s most popular and Jenkins returns to the Royal Albert Hall in widely performed living composers. His Armed London on 30 October for a concert including Man is a classical music phenomenon, with on Stabat Mater and The Armed Man, with the average two performances per week, amounting Royal Philharmonic Orchestra and London to over 1800 total in 20 different countries, and a Philharmonic Choir. recording that has been in the UK Classical Album Chart for close to 600 weeks. Current composing projects include a new work for chorus and orchestra, commissioned by S4C From a modest upbringing, steeped in the Welsh to commemorate the 50th anniversary of the choral tradition and the Western musical canon, Aberfan Tragedy in October 1966, when a waste Jenkins trained as a classical musician at Cardiff tip slid down a mountainside to engulf houses University and the Royal Academy of Music in and a junior school, killing 144.
    [Show full text]
  • Ambiguous Serenade: Ginastera & Davidovsky
    Ambiguous Serenade: Ginastera & Davidovsky June 21, 2016 5:00 PM Naumburg Bandshell, Central Park New York, NY Welcome to Music of the Americas’ annual concert in Central Park, a tradition that we started 4 seasons ago. It is a pleasure to once again participate in Make Music New York, and work with our friends of ICE, and to welcome baritone Christopher Dylan Herbert to our musical world. With this concert, we also start our celebration of Alberto Ginastera’s centennial, which will continue this summer and next fall. We are delighted to present a piece that is performed very infrequently (there has been only a handful of performances since its premiere in 1974) and that shows the composer in an unabashedly romantic vein, stirred by Neruda’s sensuous poetry. We are also very happy to present a new performance of a piece we commissioned a few years ago from another illustrious Argentinean composer, the New Yorker Mario Davidovsky. His Divertimento marked a return to composition after a hiatus of a few years, and I am happy to report that he has been composing steadily since he completed this commission. Thank you for joining us! Sebastian Zubieta, Music Director The MetLife Foundation Music of the Americas concert series is made possible by the generous support of Presenting Sponsor MetLife Foundation. The Summer 2016 Music program is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and The Amphion Foundation, Inc. This event is part of Make Music New York.
    [Show full text]
  • Download Booklet
    572372bk Ginastera:570034bk Hasse 24/2/11 4:42 PM Page 8 GINASTERA Cello Concertos Mark Kosower, Cello Bamberg Symphony Orchestra Lothar Zagrosek C M Y Mark Kosower (Hyun Kang) • Lothar Zagrosek (Christian Nielinger) Bamberg Symphony Orchestra (Peter Eberts) K 8.572372 8 572372bk Ginastera:570034bk Hasse 24/2/11 4:42 PM Page 2 Alberto Ginastera (1916–1983) Mark Kosower Cello Concertos Mark Kosower began to play the cello at the age of 1½ and later studied with János Starker and Joel Krosnick. As a soloist he has appeared with the Orchestre de Paris, the Bamberg Symphony, the Hong Kong Philharmonic, the China Alberto Ginastera is considered by many music-lovers to Liceo Militar in Buenos Aires. He married pianist Mercedes National Symphony Orchestra, the National Symphony Orchestra of Taiwan, and the Brazilian Symphony Orchestra as be the greatest Latin-American composer of the post-World de Toro, and they had two children in the early 1940s. A well as the Cleveland Orchestra, the Saint Paul Chamber Orchestra, the Ravinia Festival Orchestra, and the symphony War II era, but he is also without question one of the most highlight of his life during this period includes receiving a orchestras of Detroit, Houston, Indianapolis, Milwaukee, Minnesota, and Seattle among many others. He has performed admired and respected musical voices of the twentieth Guggenheim fellowship that funded a trip to the United in recital at the de Doelen in Rotterdam, on the Great Performers Series at Lincoln Center, at the Kennedy Center for the century. His musical vision and language evolved through- States, but the war delayed the project.
    [Show full text]
  • Malena Kuss: Publications
    MALENA KUSS: PUBLICATIONS BOOKS: Performing Beliefs: Indigenous Peoples of South America, Central America, and Mexico, edited by Malena Kuss. Austin: University of Texas Press, 2004, 416 pp., 2 CDs. Music in Latin America and the Caribbean: An encyclopedic history, vol. 1. Performing the Caribbean Experience, edited by Malena Kuss. Austin: University of Texas Press, 2007, 537 pp., 2 CDs. Music in Latin America and the Caribbean: An encyclopedic history, vol. 2. ARTICLES: a) opera in Latin America; music historiography; b) Alberto Ginastera; c) bibliographic research; d) reviews a) Opera in Latin America; music historiography “On Shifts and Rifts, or Musicology Without Borders,” in Grenzüberschreitungen. Musik im interdisziplinären Diskurs. Festschrift für Tilman Seebass zum 75. Geburtstag, edited by Raymond Ammann, Federico Celestini, and Lukas Christensen. Innsbruck: Innsbruck University Press, 2014, 185–92. See Academia.edu “Modernismo rumbero in Carpentier’s and Caturla’s Puppet Opera Manita en el Suelo (1931–1934),” Review 82: Literature and Arts of the Americas (New York, Americas Society), 44/1 (2011), 136–142. “Il pensiero occidentale da un punto di vista transculturale (la decolonizzazione dell’America latina)” / “Western thought from a transcultural perspective: Decolonizing Latin America” in Enciclopedia della musica: L’unità della musica, 5 vols., edited by Jean-Jacques Nattiez. Torino: Giulio Einaudi editore, 2005, vol. 5, 32– 64. French edition, “La pensée occidentale du point de vue transculturel (décoloniser l’approche de la musique d’Amérique latine) in Musiques, une encyclopédie pour le XXIe siècle: L’ Unité de la musique, vol. 5 (Paris: Actes Sud / Cité de la Musique, 2007), 68–102. For English original, see Academia.edu “The Caribbean: A Reflective Overview” (with Hazel Campbell); “Cuba: A Quasi- Historical Sketch”; “Puerto Rico”; The Netherlands Antilles: A Historical Sketch,” in Performing the Caribbean Experience, vol.
    [Show full text]