Valkyries Intl Free

Total Page:16

File Type:pdf, Size:1020Kb

Valkyries Intl Free FREE VALKYRIES INTL PDF Paulo Coelho | 212 pages | 01 Dec 2004 | HarperOne | 9780060736286 | English | United States Valkyrie () - IMDb Qty :. Valkyries Intl protect some, but guide spears, arrows and sword Valkyries Intl into the bodies of others. Viking myths about valkyries attempt to elevate the banality of war — to make the pain and suffering, the Valkyries Intl limbs and deformities, the piles of lifeless bodies of young men, glorious and worthwhile. Rather than their death being futile, it is their destiny and good fortune, determined by divine beings. The women in these stories take Valkyries Intl part in the power struggles and upheavals in their communities, for better or worse. Drawing on the latest historical and archaeological evidence, Valkyrie introduces readers to the dramatic and fascinating texts recorded in medieval Iceland, a culture able to imagine women in all kinds of roles carrying power, not just in this world, but pulling the strings in the other-world, too. In Valkyries Intl process, this fascinating book uncovers the reality behind the myths and legends to reveal the Valkyries Intl, diverse lives of Viking women. Introduction 1. Infancy and Childhood 2. Between Two Worlds: Teenage Girls 3. Adulthood 4. Pregnancy and Childbirth 5. Widows 6. Old Age and Death Epilogue. This book is intelligent, engaging and well written, with many new insights. It's a period of history that continues to grip the popular imagination, here brought evocatively to life through archaeological discoveries and contemporary sources, including emotive stories and verse. Valkyrie: The Women of the Viking World Valkyries Intl a significant book. Her lively style, profound knowledge and brilliant insights signal a stunning new voice in the debate about the Vikings. For the first time readers can understand the importance of Valkyries Intl Valkyries in the Viking Age and see the impact these mythical women had more Valkyries Intl on culture and society in Valkyries Intl early medieval world. The scholarship is excellent, interpretation thorough, yet the writing style is accessible. It's a pleasure to read and be plunged into a world of sagas, runes, myth and magic. This website uses cookies to improve user experience. By using our website you consent to all cookies in accordance with our Cookie Policy. It looks like you are located in Australia or New Zealand Close. Visit the Australia site Continue on UK site. Visit the Australia site. Continue on UK site. Data Science Consulting | Valkyrie Intelligence | Austin, Texas As a separate piece, the "Ride" is often heard in a purely instrumental version, which may be as short as three minutes. Together with the Valkyries Intl Bridal Chorus " from Lohengrinthe "Ride Valkyries Intl the Valkyries" is one of Wagner's best-known pieces. The preliminary draft for the "Ride" was composed in as part of the composition of the entire opera, which was fully orchestrated by the end of March Valkyries Intl As Valkyries Intl are joined by the other four, the familiar tune is carried by the orchestra, while, above it, the Valkyries greet each other and sing their battle-cry. Apart from the song of the Rhinemaidens in Das Rheingoldit is the only ensemble piece in the first three operas of Wagner's Ring cycle. By January of the next year, Wagner was receiving requests for the "Ride" to be performed separately, but wrote that such a performance should be considered "an utter indiscretion" and forbade "any such thing". He himself conducted it in London on 12 Mayrepeating it Valkyries Intl an encore. From Wikipedia, the free encyclopedia. Musical composition by Richard Wagner. For other uses, see Ride of the Valkyries disambiguation. Performed in See also: List of films using the music of Richard Wagner. San Francisco Symphony. Archived from the original on Retrieved Griffith, and the Birth of Classical Cinema". Retrieved 7 November Archived from the original on December 27, Valkyries Intl Brilliant Classics No. CD 5, track The Guardian. Music Text. Der gerettete Alberich Expecting Someone Taller. Richard Wagner. List of works for the stage List of compositions. Parsifal film Parsifal Valkyries Intl. Holztrompete Wagner tuba. Book Category WikiProject. Opera portal. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons. Problems playing this file? See media help. Das Rheingold discography. US Navy Contractor | Valkyrie Enterprises | United States Welcome to flightglobal. This site uses cookies. Read our policy. Relatively inexpensive unmanned systems have advantages Valkyries Intl may put them on the front line when the USA squares Valkyries Intl against China in the western Pacific. The Lockheed Martin F faces three major challenges that cannot be overcome by yet further investment. Second, the FA has an operational range of about nm 1,km Valkyries Intl, while China can deploy numerous UAVs, ballistic and cruise missiles with ranges that greatly exceed Valkyries Intl. Today, Chinese forces could attack US bases in the first and second island chains with a mix of missiles and drones. This means the F can only operate safely from bases too distant Valkyries Intl it to join the fight without extensive tanker support. Yet the tankers Valkyries Intl not stealthy and the Chinese have developed tactics and weapons specifically to destroy them. If tankers are unavailable because of high risks, the F cannot join the fight at all. But the biggest issue for the fighter is the fact that new, cheaper emerging technology can outperform it in key areas for a fraction of the cost. The XQA is capable of being launched and recovered without a runway, is stealth configured but Valkyries Intl coatedhas a range of 3,nm, a cruising speed of Mach 0. In stealth mode, the orders-of-magnitude more expensive F can only carry eight small diameter bombs or four air-to-air missiles. Lockheed recently announced it has a prototype rack that Valkyries Intl increase the load to six air-to-air missiles. However, this is not the final cost, since testing continues to find faults that need to be fixed. And since it is autonomous, each Valkyrie does not require flight hours every month to keep pilots proficient. Besides, this does not Valkyries Intl the Valkyries Intl savings the autonomous Valkyrie gains from eliminating the personnel costs associated with the pilot, much of the maintenance team and the airfield. Nor does it include the personnel training pipeline costs for these specialities — or their retirement and healthcare costs. In short, four Valkyries can deliver the same payload to over twice the range for about one-fortieth of the lifetime costs of an FA. And because of their range, Valkyries can strike many targets the F simply cannot reach. Unlike the F, it does not require an easily located and targeted fixed base. To increase its survivability, Kratos is experimenting with using a standard shipping container to launch the Valkyrie. Thus it can remain hidden in the container until just before launching. This capability means the UAV can launch from almost any flat surface and recover at another location. The XQA obviously has only a fraction of the capabilities of the F but it outperforms it dramatically in two areas — range and survivability on the ground. The fact that the Valkyrie can survive on the ground and has the range to get to the fight certainly means Valkyries Intl can be a partner for Valkyries Intl F and, sometime in the not too distant Valkyries Intl, its successor will replace the F The views expressed are his own and do not reflect the official policy Valkyries Intl position of the National Defense University, the DoD, or the government. He is the author of Deglobalization and International Security. The programme office has launched a market research effort ahead of a plan to grant a three-year PBL contract for to A look at how Airbus and Boeing, regional aircraft manufacturers and those leading airliner programmes in China, Japan and Russia have adapted to the major challenges the pandemic and associated collapse in air travel has caused the sector. We provide news, data, analytics and advisory services to connect the aviation community globally and help organisations shape their business strategies, identify new opportunities and make better decisions faster. Site powered by Webvision Cloud. Skip to main content Skip to navigation. Flight International. Related articles. News To improve F reliability, Pentagon plans performance-based logistics contract TZ The programme office has launched a market research effort ahead of a plan to grant a three-year PBL contract for to Valkyries Intl more articles. More Flight International. In depth How commercial airliner programmes and their manufacturers have dealt with crisis TZ A look at how Airbus and Boeing, regional aircraft manufacturers and those leading airliner programmes in China, Japan and Russia have adapted to the major challenges the pandemic and associated Valkyries Intl in air travel has caused the sector..
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • ARSC Journal, Vol.21, No
    Sound Recording Reviews Wagner: Parsifal (excerpts). Berlin State Opera Chorus and Orchestra (a) Bayreuth Festival Chorus and Orchestra (b), cond. Karl Muck. Opal 837/8 (LP; mono). Prelude (a: December 11, 1927); Act 1-Transformation & Grail Scenes (b: July/ August, 1927); Act 2-Flower Maidens' Scene (b: July/August, 1927); Act 3 (a: with G. Pistor, C. Bronsgeest, L. Hofmann; slightly abridged; October 10-11and13-14, 1928). Karl Muck conducted Parsifal at every Bayreuth Festival from 1901 to 1930. His immediate predecessor was Franz Fischer, the Munich conductor who had alternated with Hermann Levi during the premiere season of 1882 under Wagner's own supervi­ sion. And Muck's retirement, soon after Cosima and Siegfried Wagner died, brought another changing of the guard; Wilhelm Furtwangler came to the Green Hill for the next festival, at which Parsifal was controversially assigned to Arturo Toscanini. It is difficult if not impossible to tell how far Muck's interpretation of Parsifal reflected traditions originating with Wagner himself. Muck's act-by-act timings from 1901 mostly fall within the range defined in 1882 by Levi and Fischer, but Act 1 was decidedly slower-1:56, compared with Levi's 1:47 and Fischer's 1:50. Muck's timing is closer to that of Felix Mottl, who had been a musical assistant in 1882, and of Hans Knappertsbusch in his first and slowest Bayreuth Parsifal. But in later summers Muck speeded up to the more "normal" timings of 1:50 and 1:47, and the extensive recordings he made in 1927-8, now republished by Opal, show that he could be not only "sehr langsam" but also "bewegt," according to the score's requirements.
    [Show full text]
  • From Page to Stage: Wagner As Regisseur
    Wagner Ia 5/27/09 3:55 PM Page 3 Copyrighted Material From Page to Stage: Wagner as Regisseur KATHERINE SYER Nowadays we tend to think of Richard Wagner as an opera composer whose ambitions and versatility extended beyond those of most musicians. From the beginning of his career he assumed the role of his own librettist, and he gradually expanded his sphere of involvement to include virtually all aspects of bringing an opera to the stage. If we focus our attention on the detailed dramatic scenarios he created as the bases for his stage works, we might well consider Wagner as a librettist whose ambitions extended rather unusually to the area of composition. In this light, Wagner could be considered alongside other theater poets who paid close attention to pro- duction matters, and often musical issues as well.1 The work of one such figure, Eugène Scribe, formed the foundation of grand opera as it flour- ished in Paris in the second quarter of the nineteenth century. Wagner arrived in this operatic epicenter in the fall of 1839 with work on his grand opera Rienzi already under way, but his prospects at the Opéra soon waned. The following spring, Wagner sent Scribe a dramatic scenario for a shorter work hoping that the efforts of this famous librettist would help pave his way to success. Scribe did not oblige. Wagner eventually sold the scenario to the Opéra, but not before transforming it into a markedly imaginative libretto for his own use.2 Wagner’s experience of operatic stage produc- tion in Paris is reflected in many aspects of the libretto of Der fliegende Holländer, the beginning of an artistic vision that would draw him increas- ingly deeper into the world of stage direction and production.
    [Show full text]
  • Recital Report
    Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1975 Recital Report Robert Steven Call Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Commons Recommended Citation Call, Robert Steven, "Recital Report" (1975). All Graduate Plan B and other Reports. 556. https://digitalcommons.usu.edu/gradreports/556 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. RECITAL REPORT by Robert Steven Call Report of a recital performed in partial fulfillment of the requirements for the degree of MASTER OP MUSIC in ~IUSIC UTAH STATE UNIVERSITY Logan, Utah 1975 ii ACKNOWLEDGMENTS I wish to expr ess appreciation to my private music teachers, Dr. Alvin Wardle, Professor Glen Fifield, and Mr. Earl Swenson, who through the past twelve years have helped me enormously in developing my musicianship. For professional encouragement and inspiration I would like to thank Dr. Max F. Dalby, Dr. Dean Madsen, and John Talcott. For considerable time and effort spent in preparation of this recital, thanks go to Jay Mauchley, my accompanist. To Elizabeth, my wife, I extend my gratitude for musical suggestions, understanding, and support. I wish to express appreciation to Pam Spencer for the preparation of illustrations and to John Talcott for preparation of musical examp l es. iii UTAH STATE UNIVERSITY Logan, Utah DEPARTMENT OF MUSIC 1972 - 73 Graduate Recital R.
    [Show full text]
  • Wagner) Vortrag Am 21
    Miriam Drewes Die Bühne als Ort der Utopie (Wagner) Vortrag am 21. August 2013 im Rahmen der „Festspiel-Dialoge“ der Salzburger Festspiele 2013 Anlässlich des 200. Geburtstags von Richard Wagner schreibt Christine Lemke-Matwey in „Der Zeit“: „Keine deutsche Geistesgröße ist so gründlich auserzählt worden, politisch, ästhetisch, in Büchern und auf der Bühne wie der kleine Sachse mit dem Samtbarrett. Und bei keiner fällt es so schwer, es zu lassen.“1 Allein zum 200. Geburtstag sind an die 3500 gedruckte Seiten Neuinterpretation zu Wagners Werk und Person entstanden. Ihre Bandbreite reicht vom Bericht biographischer Neuentdeckungen, über psychologische Interpretationen bis hin zur Wiederauflage längst überholter Aspekte in Werk und Wirkung. Inzwischen hat die Publizistik eine Stufe erreicht, die sich von Wagner entfernend vor allen Dingen auf die Rezeption von Werk und Schöpfer richtet und dabei mit durchaus ambivalenten Lesarten aufwartet. Begegnet man, wie der Musikwissenschaftler Wolfgang Rathert konzediert, Person und Werk naiv, begibt man sich alsbald auf vermintes ideologisches Terrain,2 auch wenn die Polemiken von Wagnerianern und Anti-Wagnerianern inzwischen nicht mehr gar so vehement und emphatisch ausfallen wie noch vor 100 oder 50 Jahren. Selbst die akademische Forschung hat hier, Rathert zufolge, nur wenig ausrichten können. Immerhin aber zeigt sie eines: die Beschäftigung mit Wagner ist nicht obsolet, im Gegenteil, die bis ins Ideologische reichende Rezeption führe uns die Ursache einer heute noch ausgesprochenen Produktivität vor Augen – sowohl diskursiv als auch auf die Bühne bezogen. Ich möchte mich in diesem Vortrag weniger auf diese neuesten Ergebnisse oder Pseudoergebnisse konzentrieren, als vielmehr darauf, in wieweit der Gedanke des Utopischen, der Richard Wagners theoretische Konzeption wie seine Opernkompositionen durchdringt, konturiert ist.
    [Show full text]
  • Florida State University Libraries
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Gustav Mahler, Alfred Roller, and the Wagnerian Gesamtkunstwerk: Tristan and Affinities Between the Arts at the Vienna Court Opera Stephen Carlton Thursby Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GUSTAV MAHLER, ALFRED ROLLER, AND THE WAGNERIAN GESAMTKUNSTWERK: TRISTAN AND AFFINITIES BETWEEN THE ARTS AT THE VIENNA COURT OPERA By STEPHEN CARLTON THURSBY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Stephen Carlton Thursby defended on April 3, 2009. _______________________________ Denise Von Glahn Professor Directing Dissertation _______________________________ Lauren Weingarden Outside Committee Member _______________________________ Douglass Seaton Committee Member Approved: ___________________________________ Douglass Seaton, Chair, Musicology ___________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above named committee members. ii To my wonderful wife Joanna, for whose patience and love I am eternally grateful. In memory of my grandfather, James C. Thursby (1926-2008). iii ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the generous assistance and support of numerous people. My thanks go to the staff of the Austrian Theater Museum and Austrian National Library-Music Division, especially to Dr. Vana Greisenegger, curator of the visual materials in the Alfred Roller Archive of the Austrian Theater Museum. I would also like to thank the musicology faculty of the Florida State University College of Music for awarding me the Curtis Mayes Scholar Award, which funded my dissertation research in Vienna over two consecutive summers (2007- 2008).
    [Show full text]
  • Wagner Biography
    GÖTTERDÄMMERUNG Composer Biography: Richard Wagner Richard Wagner (May 22, 1813 – February 13, 1883), German composer, conductor, theatre director of operas, is considered one of the most important figures of nineteenth-century music. Wagnerʼs music is still widely recognized today, accompanying celebrations with the ever-present Wedding March (Bridal Chorus) from the opera Lohengrin and the Ride of the Valkyries from the opera Die Walküre, which has been used in movie soundtracks to great effect. Richard Wagner was born at No. 3 (The House of the Red and White Lions), the Brühl, in the Jewish quarter of Leipzig, the ninth child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service, and his wife Johanna Rosine, the daughter of a baker. He enrolled at the University of Leipzig in 1831, taking composition lessons with the cantor of Saint Thomas Church, Christian Theodor Weinlig, who arranged for the composerʼs first work, his Piano Sonata in B-flat to be published. In 1833, Wagner's older brother Karl Albert managed to obtain for Richard a position as choir master in Würzburg. At the age of 20, Wagner composed his first complete opera Die Feen, which was not performed until after the composerʼs death. His reputation grew as the composer of works such as Der fliegende Holländer (1843), Tannhaüser (1845), and Lohengrin (1850), which were broadly in the romantic vein of Weber and Meyerbeer. Wagner's compositions are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements.
    [Show full text]
  • Copyright by Brian James Watson 2005
    Copyright by Brian James Watson 2005 The Treatise Committee for Brian James Watson certifies that this is the approved version of the following treatise: Wagner’s Heldentenors: Uncovering the Myths Committee: K. M. Knittel, Supervisor William Lewis, Co-Supervisor Rose A. Taylor Michael C. Tusa John Weinstock Darlene Wiley Wagner’s Heldentenors: Uncovering the Myths by Brian James Watson, B.A., M.M. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin August 2005 Acknowledgements This treatise would not have been possible without the assistance and encouragement of several people whom I would like to thank. First and foremost, I would like to thank Dr. K. M. Knittel for her careful supervision. Her advice and guidance helped shape this project and I am very grateful for her participation. I would also like to thank my co-supervisor, William Lewis, whose encouragement has been instrumental to my academic career. His singing helped stir my interest in Heldentenors. I am also grateful for the support of Darlene Wiley. Without her, my knowledge of vocal pedagogy would be quite limited. Rose Taylor should also be thanked for her positive attitude and encouragement. The other members of my committee should also be recognized. I want to thank Dr. Michael C. Tusa, for his participation on this committee and for his assistance in finding sources, and Dr. John Weinstock, for being a part of this committee. I would be remiss if I did not also thank my family, primarily my father for his understanding and sympathy.
    [Show full text]
  • The History and Usage of the Tuba in Russia
    The History and Usage of the Tuba in Russia D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By James Matthew Green, B.A., M.M. Graduate Program in Music The Ohio State University 2015 Document Committee: Professor James Akins, Advisor Professor Joseph Duchi Dr. Margarita Mazo Professor Bruce Henniss ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James Matthew Green 2015 ! ! ! ! ! ! Abstract Beginning with Mikhail Glinka, the tuba has played an important role in Russian music. The generous use of tuba by Russian composers, the pedagogical works of Blazhevich, and the solo works by Lebedev have familiarized tubists with the instrument’s significance in Russia. However, the lack of available information due to restrictions imposed by the Soviet Union has made research on the tuba’s history in Russia limited. The availability of new documents has made it possible to trace the history of the tuba in Russia. The works of several composers and their use of the tuba are examined, along with important pedagogical materials written by Russian teachers. ii Dedicated to my wife, Jillian Green iii Acknowledgments There are many people whose help and expertise was invaluable to the completion of this document. I would like to thank my advisor, professor Jim Akins for helping me grow as a musician, teacher, and person. I would like to thank my committee, professors Joe Duchi, Bruce Henniss, and Dr. Margarita Mazo for their encouragement, advice, and flexibility that helped me immensely during this degree. I am indebted to my wife, Jillian Green, for her persistence for me to finish this document and degree.
    [Show full text]
  • The Political Ramifications of Hitler's Cult of Wagner
    Hans Rudolf Vaget THE POLITICAL RAMIFICATIONS OF HITLER’S CULT OF WAGNER aus: Zum Gedenken an Peter Borowsky Herausgegeben von Rainer Hering und Rainer Nicolaysen (Hamburger Universitätsreden Neue Folge 3. Herausgeber: Der Präsident der Universität Hamburg) S. 103-127 IMPRESSUM DER GESAMTAUSGABE Bibliografische Information Der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deut- schen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.ddb.de abrufbar. Diese Publikation ist außerdem auf der Website des Verlags Ham- burg University Press open access verfügbar unter http://hup.rrz.uni-hamburg.de. Die Deutsche Bibliothek hat die Netzpublikation archiviert. Diese ist dauerhaft auf dem Archivserver Der Deutschen Bibliothek verfügbar unter http://deposit.ddb.de. ISBN 3-9808223-6-2 (Printausgabe) ISSN 0438-4822 (Printausgabe) Beratung: Eckart Krause, Hamburg Umschlaggestaltung: Behrooz Elmi, Hamburg Typografie: Benno Kieselstein, Hamburg Erstellt mit StarOffice / OpenOffice.org Druck: Uni-HH Print & Mail, Hamburg Der Bildabdruck erfolgt mit freundlicher Genehmigung von Hans Liermann, Hamburg. © 2003 Hamburg University Press, Hamburg http://hup.rrz.uni-hamburg.de Rechtsträger: Universität Hamburg GESAMTINHALTSVERZEICHNIS 9 Zeittafel Peter Borowsky 15 Vorwort 17 TRAUERFEIER FRIEDHOF HAMBURG- NIENSTEDTEN, 20. OKTOBER 2000 19 Gertraud Gutzmann Nachdenken über Peter Borowsky 25 Rainer Nicolaysen Trauerrede für Peter Borowsky 31 GEDENKFEIER UNIVERSITÄT HAMBURG, 8. FEBRUAR 2001
    [Show full text]
  • Der Fliegende Holländer
    RICHARD WAGNER der fliegende holländer conductor Opera in three acts Valery Gergiev Libretto by the composer, based on the production François Girard novel Aus den Memoiren des Herren von Schnabelewopski by Heinrich Heine set designer John Macfarlane Monday, March 2, 2020 costume designer 8:00–10:25 PM Moritz Junge lighting designer New Production Premiere David Finn projection designer Peter Flaherty The production of Der Fliegende Holländer choreographer was made possible by a generous gift Carolyn Choa from Veronica Atkins dramaturg Serge Lamothe general manager Peter Gelb A co-production of the Metropolitan Opera; jeanette lerman-neubauer music director Dutch National Opera, Amsterdam; The Abu Dhabi Yannick Nézet-Séguin Festival; and Opéra de Québec 2019–20 SEASON The 160th Metropolitan Opera performance of RICHARD WAGNER’S der fliegende holländer conductor Valery Gergiev in order of vocal appearance daland Franz-Josef Selig steersman David Portillo dutchman Evgeny Nikitin mary Mihoko Fujimura DEBUT senta Anja Kampe DEBUT erik Sergey Skorokhodov This performance is being broadcast live on Metropolitan senta dancer Opera Radio on Alison Clancy SiriusXM channel 75 and streamed at metopera.org. Der Fliegende Holländer is performed without intermission. Monday, March 2, 2020, 8:00–10:25PM KEN HIOWARD / MET OPERA A scene Chorus Master Donald Palumbo from Wagner’s Interactive Video Development Jesse Garrison / Der Fliegende Nightlight Labs Holländer Associate Video Producer Terry Gilmore Musical Preparation John Keenan, Dan Saunders, Bradley
    [Show full text]