Opera Management

Total Page:16

File Type:pdf, Size:1020Kb

Opera Management THE CINCINNATI OPERA 1883-1994 Arranged and Described by Vincent Mazzella, Marian stangel "and Ursula Umberq March 1995 THE CINCINNATI OPERA, 1883-1994 CONTAINTER LISTING Box No. Description Date Page SERIES I: PROGRAMS AND BROADSIDES Box 1: Programs and Broadsides 1920-1936 1 Box 2: Programs and Broadsides 1937-1946 2 Box 3: Programs and Broadsides 1947-1957 3 Box 4: Programs and Broadsides 1958-1965 4 Box 5: Programs and Broadsides 1966-1971 4 Box 6: Programs and Broadsides 1972-1979 5 Box 7: Programs and Broadsides 1980-1983 5 Box 8 : Opera Programs 1985-1992 5 Box 9: Assorted Music 1883, 1886-1987, 1890, 1902-1911 6 1934-42, 1978-1979 Festival Programs--Metropolitan Opera Programs, Nippert Concerts Federal Theatre (WPA) Programs. Miscellaneous Programs SERIES II: LIBRETTOS Box 10: Aida to The King's Henchmen 7 Box 11: Lakme to Der Rosenkavalier 7 Box 12: Salome to II Trovatore and 8 Miscellaneous Covers SERIES III: PHOTOGRAPHS Performers Photographs and Program Biographies Box 13: Adler,Arlene to Bardi, G. 8 Box 14: Barlow, Klara to Calleo, Ricardo 9 Box 15: Campora, Guiseppe to Cornell, Gwynn 10 Box 16: Cossa, Dominic to DeAlmeida, Antonio 11 Box 17: DeBlasis, James to Dworchak, Harry & Designers 12 Box 18: Eddleman, Jack to Frigerio, Claudio 13 Box 19: Galiano, Joseph to Harris, Lloyd 14 Box 20: Harrower, Peter to Janku, Hana 16 Box 21: Jenista, John to ~ng, Edith 17 i Box 22: LaSelva, Vincent to Malas, Spiro 18 Box 23: Malfitano, Catherine to Mills, Erie 19 Box 24: Milnes, Sherrill to Muckenfuss, Robert 20 Box 25: Nabokov, Dmitri to Pastine, Gianfranco 21 Box 26: Patachi, Val to Proctor, Elizabeth 22 Box 27: Quartarro, Florence to Rounseville, Robert 23 Box 28: Roy, Margaret to Shade, Nancy 24 Box 29: Shelle, Eileen to Soloman,. David 25 Box 30: Stall, David to Thomas, Hal 26 Box 31: Thomas, Michael to Ward, Cecilia 27 Box 32: Were, Gloria to Zschau, Marilyn; 28 Unidentified Performers Performances Box 33: Adriana Lecouvreur to Boris Gudonov 29 Box 34: Carmen to H.M.S. Pinafore 29 Box 35: Lakme to Das Rheingold 30 Box 36: Rigoletto to Zaza; Unidentified 31 Box 37: Cincinnati Post Photographs and 1956-1984 33 Articles, Performances, Backstage Rehearsal and Audience (P/R)< Box 38: Opera Seasons 1954-1967 33 Box 39: Opera Seasons 1968-1987 34 Box 40: Cincinnati Ope~a Ballet and 1961-1962 35 ~.\ Vienna state Opera Ballet l., Box 41: Set Designs- 1963-1977 35 Aida to II Trovator.e Box 42: Children, Audience, Zoo Pavilion, 1957 36 Peterloon, and 1957 WLW Broadcasts Box 42: Board Members 1958 36 Box 43: Wardrobe and Designs, Artists and No dates 36 Others Backstage Box 43: Chorus Members, Rehearsals and 1942, 1975, 1960's, 36 Auditions Box 43: Miscellaneous Performances and 1930's 1969-1984 37 Productions Box 44: Guild Members and Meetings, 1984 37 Photos Used in Entr'Acte Box 44: Society Parties 1958-1985 37 Box 45: ECCO! Performers (some Negatives) 1978-1993 38 and Program Biographies, Anderek, Edward to Yomtov, Diane; Unidentified Box 46: ECCO! Contact Sheets of Performers 1975-1988 39 and Performances, ECCO! Artists, and Assorted Program 1980-1992 39 Biographies Box 47: ECCO! Performances and Rehearsals 1980-1986 40 (some Negatives), Alice in Wonderland to La Traviata; ECCO! Staff; Unidentified ii SERIES IV: NEWSPAPER ARTICLES AND CLIPPINGS Box 48: Performances-Clippings and Press Releases 1941-1984 40 Adriana Lecouvreur to Eugene Onegin Box 49: Clippings and Press Releases 1941-1992 41 Faust to Postcard from Morocco Box 50: Newspaper Articles, Press Releases, etc. 1931-1985 43 Resurrection to Zaza Box 51: Newspaper Articles, Press Releases 1917, 1929-1965 44 and Publicity Materials, 1917-1965 Season Box 52: 1966-1985 Season-Newspaper Articles, 1966-1981 45 Press Releases and Publicity Materials Box 53: Newspaper Articles, Press Releases and 1982-1991 46 publicity Materials, 1981-1991 Seasons SERIES V: PUBLICITY Box 54: Bel Canto Publications January 1946-July 1948 46 Box 55: Entr'Acte Newsletters June 1978-Spring 1987 46 Box 56: Young Friends of the Opera 1945-1948 47 Bel Canto Subscription Acknowledgements Box 57: Opera Guild Bulletins June 1968-winter 1977 47 and Applications Box 58: Press Releases, publicity 1958-1981 48 Expenses and Correspondence SERIES VI: PUBLIC OUTREACH AND EDUCATION Box 59: Women's Committee Notes & 1964-1976 48 Publicity Material Box 60: Cincinnati Opera Guide For Young People, 1980-1981 49 General Information/Introduction Barber of Seville to Elixir of Love Box 61: Cincinnati Opera Guide For Young People 49 Eugene Onegin To Rigoletto Box 62: Young Friends of the Opera and 1946-1982 49 Young American Artists Box 63: ECCO! Teaching Materials, Publicity, 1980-1994 49 News and Information, Programs Box 64: ECCO! Newspaper Clippings i982-1986 50 iii SERIES VII: JOHN JOHNEN REVIEWS, WLW PROGRAM SCRIPTS Box 65: Louis John Johnen Reviews for 1948-1952 50 the Times-star Box 66: WLW Program Scripts 1953-1954 52 SERIES VIII: CHARLOTTE SHOCKLEY Box 67: Charlotte Shockley, Archival 1944-1987 52 Information, "Treble & Bass" Articles, Miscellaneous Articles SERIES IX: OPERA MANAGEMENT Box 68: Historical Documents, 1920-1976 53 Contracts, Season Planning, Fund Raising Materials, (Nichols File-Confidential) Box 69: Operas and Casts, 1920-1988 53 Historical Data, seating Arrangements Box 70: Articles, Notes from Windgassen Diary 1920-1990 53 Box 71: Awards and certificates .. 1982-1985 54 SERIES X: JOURNALS Box 72: Opera News 1948-1975 54 Box 73: Miscellaneous Programs and 1948-1986 54 Publications SERIES XI: SCRAPBOOKS Box 74: Louis John Johnen Scrapbooks 1919-1946 55 Box 75: Opera Seasons 1936-1942 55 Box 76: Opera Seasons 1936-1937, 1943 55 Box 77: Mrs. S.L. Eby Scrapbooks 1937-1938 55 Blue Scrapbooks (11) No date Box 78: Bernice Reichwein Scrapbook 1940's 55 Box 79: Opera Season 1936-1937 56 Opera Seasons 1943-1952 Opera Season 1945 Opera Seasons 1953-1955 lV• Box 80: Opera Season 1946 56 Opera Season June 1946-July 1946 Opera Season July 1946-August 1946 Opera Season August 1946 Box 81: Mr. & Mrs. George C. Juilfs Scrapbook 1920-1979 56 59 Seasons of Tradition Box 82: Frances Jones Poetker Scrapbook 57 Opera Season 1953, 1959 Opera Season 1958-1959 Item/(Box} 83: Opera Season 1959 58 Item/(Box} 84: Opera Season 1960 58 Item/(Box} 85: Opera Season 1961 58 Item/(Box} 86: Opera Season 1962 58 Item/(Box} 87: Opera Season 1963 59 Box 88: Janet Moore Schurter (chorus member) 1962, 1963 59 Opera Season 1966, 1968-1970 Box 89: Opera Season 1973, 1975 59 Item/(Box} 90: Opera Seasons 1973-1976 59 Item/(Box} 91: Opera Season 1977 60 Item/(Box} 92: opera Season 1977 60 Item/(Box} 93: Opera Season (two volumes) 1978 60 Item/(Box} 94: Opera Season 1978-1979 60 Item/(Box} 95: Opera Season 1979 60 Item/(Box} 96: Opera Season 1979-1980 60 Item/(Box} 97: Opera Season 1980-1981 61 Item/(Box} 98: Opera Season 1982-1983 61 Item/(Box} 99: Opera Season 1984-1985 61 Item/(Box} 100: Opera Season 1986-1987 61 Box 101: Opera Season 1990-1991 61 SERIES XII: OVERSIZED MATERIALS Item/Box 102: The Cincinnati Enquirer 1941, 1946 62 Twenty Years of Summer Opera; Opera Season Item/Box 103: Opera Season Poster 1983 62 Item/Box 104: Summer Paste-ups 1985 62 Item/Box 105: Fall " 1987 62 Item/Box 106: Spring " 1988 62 Item/Box 107: Posters-ECCO!, Sings Shakespeare, No date 63 Ensemble Company Box 108: Performer Photographs, Albanese, Licia to 63 Tibbett, Lawrence & Miscellaneous Photographs Box 109: Photographs of Zoo Opera 1883,1936,1946 63 Scenes, Patrons and Performance 1975-1978 Box 110: Opera Season Posters 1921, 1971-1985 64 Box 111: Newspaper Clippings 1946-1948, 1987 64 v SERIES XIII: MISCELLANEOUS Box 112: Hansel and Gretel Wall Plaque 1973 64 Box 113: Phonograph Records 1934-1938 65 Box 114: Promotional Buttons No dates 65 vi THE CINCINNATI OPERA 1883-1994 SERIES I: PROGRAMS AND BROADSIDES Box 1: Programs and Broadsides, 1920-1936 Folder 1. Opera Program June 27-July 3,'1920 2. II II July 16-July 22, 1922 3. II II August 5-August 11, 1923 4. Opera Broadsides 1923 5. Opera Program June 29-July 5, 1924 6. II II July 18-July 24, 1926 7. Opera Broadsides 1926 8. Opera Program July 3-July 9, 1927 9. Opera Broadsides 1928 10. Opera Program June 17-June 23, 1928 11. " " June 24-June 30, 1928 12. " II July 8-July 14, 1928 13 . " II July 15-July 21, 1928 14 -: II II July 22-July 28, 1928 15. " II July 29-August 4, 1928 16. II II June 16-June 22, 1929 17. II II June 23-June 29, 1929 18. II II July 21-July 27, 1929 19. II II July 28-August 3, 1929 20. II " August 4-August 10, 1929 21. II " August 11-August 17, 1929 22. II " August 18-August 24, 1929 23. Opera Broadsides 1929 24. Opera Program June 15-June 21, 1930 25. II II June 22-June 28, 1930 26. " II June 29-July 5, 1930 27. II II July 13-July 19, 1930 28. II II July 20-July 26, 1930 29. " " July 27-August 2, 1930 30 II " August 3-August 9, 1930 31. II " August 17-August 23, 1930 32. II " August 10-August 16, 1930 33. Opera Broadsides 1930 34. Opera Program June 14-June 20, 1931 35. II " June 21-June 27, 1931 36. II " June 28-July 4, 1931 37. II " July 5-July 11, 1931 38. " " July 12-July 18, 1931 39. II " July 19-July 25, 1931 40.
Recommended publications
  • 2010 AMTA Conference Promises to Bring You Many Opportunities to Network, Learn, Think, Play, and Re-Energize
    Celebrating years Celebrating years ofof musicmusic therapytherapy the past... t of k ou oc R re utu e F th to in with ll nd o Music a R Therapy official conference program RENAISSANCE CLEVELAND HOTEL Program Sponsored by: CLEVELAND, OHIO welcome ...from the Conference Chair elcome and thank you for joining us in Cleveland to celebrate sixty years of music Wtherapy. And there is much to celebrate! Review the past with the historical posters, informative presentations and the inaugural Bitcon Lecture combining history, music and audience involvement. Enjoy the present by taking advantage of networking, making music with friends, new and old, and exploring some of the many exciting opportunities available just a short distance from the hotel. The conference offers an extensive array of opportunities for learning with institutes, continuing education, and concurrent sessions. Take advantage of the exceptional opportunities to prepare yourself for the future as you attend innovative sessions, and talk with colleagues at the clinical practice forum or the poster research session. After being energized and inspired the challenge is to leave Cleveland with both plans and dreams for what we can accomplish individually and together for music therapy as Amy Furman, MM, MT-BC; we roll into the next sixty years. AMTA Vice President and Conference Chair ...from the AMTA President n behalf of the AMTA Board of Directors, as well as local friends, family and colleagues, Oit is my distinct privilege and pleasure to welcome you to Cleveland to “rock out of the past and roll into the future with music therapy”! In my opinion, there is no better time or place to celebrate 60 years of the music therapy profession.
    [Show full text]
  • 01-25-2020 Boheme Eve.Indd
    GIACOMO PUCCINI la bohème conductor Opera in four acts Marco Armiliato Libretto by Giuseppe Giacosa and production Franco Zeffirelli Luigi Illica, based on the novel Scènes de la Vie de Bohème by Henri Murger set designer Franco Zeffirelli Saturday, January 25, 2020 costume designer 8:00–11:05 PM Peter J. Hall lighting designer Gil Wechsler revival stage director Gregory Keller The production of La Bohème was made possible by a generous gift from Mrs. Donald D. Harrington Revival a gift of Rolex general manager Peter Gelb This season’s performances of La Bohème jeanette lerman-neubauer and Turandot are dedicated to the memory music director Yannick Nézet-Séguin of Franco Zeffirelli. 2019–20 SEASON The 1,344th Metropolitan Opera performance of GIACOMO PUCCINI’S la bohème conductor Marco Armiliato in order of vocal appearance marcello muset ta Artur Ruciński Susanna Phillips rodolfo a customhouse serge ant Roberto Alagna Joseph Turi colline a customhouse officer Christian Van Horn Edward Hanlon schaunard Elliot Madore* benoit Donald Maxwell mimì Maria Agresta Tonight’s performances of parpignol the roles of Mimì Gregory Warren and Rodolfo are underwritten by the alcindoro Jan Shrem and Donald Maxwell Maria Manetti Shrem Great Singers Fund. Saturday, January 25, 2020, 8:00–11:05PM MARTY SOHL / MET OPERA Roberto Alagna as Chorus Master Donald Palumbo Rodolfo and Maria Musical Preparation Caren Levine*, Joshua Greene, Agresta as Mimì in Jonathan C. Kelly, and Patrick Furrer Puccini’s La Bohème Assistant Stage Directors Mirabelle Ordinaire and J. Knighten Smit Met Titles Sonya Friedman Stage Band Conductor Joseph Lawson Children’s Chorus Director Anthony Piccolo Italian Coach Loretta Di Franco Prompter Joshua Greene Associate Designer David Reppa Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ladies millinery by Reggie G.
    [Show full text]
  • American Spiritual Program Spring 2009
    American Spiritual Ensemble Sunday, February 22, 2009 • 4 p.m. Asbury United Methodist Church Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music in the African-American tradition. The concert is sponsored by Asbury United Methodist Church; the Peter and Judy Jackson Music Performance Fund; Salisbury University’s Department of Music, Office of the Dean of the Charles R. and Martha N. Fulton School of Liberal Arts and Office of Multicultural Student Services; the SU Foundation, Inc.; and is made possible, in part, by a grant from the Salisbury Wicomico Arts Council, awarded by the Maryland State Arts Council and the National Endowment for the Arts. AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM Walk Together, Children ............................................................arr. William Henry Smith We Shall Walk Through the Valley in Peace ............................................arr. Moses Hogan Plenty Good Room ......................................................................arr. William Henry Smith Oh, What A Beautiful City! ........................................................................arr. Johnie Dean Mari-Yan Pringle, Jeryl Cunningham, Sopranos I Want Jesus to Walk With Me ....................arr. Eurydice Osterman/Tedrin Blair Lindsay Ricky Little, Baritone Fi-yer, Fi-yer Lord (from the operetta Fi-yer! )......................Hall
    [Show full text]
  • Dayton Opera Artistic Director Thomas Bankston to Retire at the Conclusion of His 25Th Season with Dayton Opera in June 2021
    Dayton Opera Artistic Director Thomas Bankston to Retire at the Conclusion of His 25th Season with Dayton Opera in June 2021 CONTACT: ANGELA WHITEHEAD Communications & Media Manager Dayton Performing Arts Alliance Phone 937-224-3521 x 1138 [email protected] DAYTON, OH (February 7, 2020) – The Dayton Performing Arts Alliance (DPAA) has announced today that Thomas Bankston, Artistic Director of Dayton Opera, will retire in June 2021, at the conclusion of the newly announced 2020–2021 Celebrate Season, Dayton Opera’s 60th anniversary season. “The coming together of three especially celebratory events in the 2020-21 season – Dayton Opera’s 60th anniversary, my 25th season, and the closing of that season with a world premiere opera production, Finding Wright – seemed like a fitting time at which to bring to a close my 41 year career in the professional opera business. Dayton Opera has been a huge part of my life and will always hold a special place in my heart. Especially all the wonderful friendships and associations I have made with artists, staff and volunteers that will make my retirement a truly bittersweet one,” said Tom Bankston. The 2020–2021 season will mark Bankston’s 25th season providing artistic leadership for Dayton Opera, the longest term of artistic leadership in the company’s history. In 1996, he began his work with the company, sharing his wide-ranging knowledge of the field of opera between Dayton Opera and Cincinnati Opera, the company where in 1982 he began his work as an opera administrator. At the start of the 2001–2002 season, he left Cincinnati Opera and assumed the position of Artistic Director for Dayton Opera on a full-time basis, and then was named General & Artistic Director of Dayton Opera in 2004.
    [Show full text]
  • ARSC Journal
    THE MARKETPLACE HOW WELL DID EDISON RECORDS SELL? During the latter part of 1919 Thomas A. Edison, Inc. began to keep cumulative sales figures for those records that were still available. The documents were continued into 1920 and then stopped. While the documents included sales figures for all series of discs time allowed me to copy only those figures for the higher priced classical series. Thus the present article includes the 82,000 ($2.00); 82,500 ($2.50); 83,000 ($3.00) and 84,000 ($4.00) series. Should there be sufficient interest it may be possible to do the other series at a later date. While the document did list some of the special Tone-Test records pressing figures were included for only two of them. I have arbitrarily excluded them and propose to discuss the Edison Tone Tests at a later date. The documents also originally included supplementary listings, which, for the sake of convenience, have been merged into the regular listings. The type copy of the major portion of the listings has been taken from regular Edison numerical catalogs and forms the framework of my forthcoming Complete Edison Disc Numerical Catalog. Several things may be noted: 1) Many of the sales figures seem surprisingly small and many of the records must be classed as rarities; 2) Deletion was not always because of poor sales-mold damage also played a part; 3) Records were retained even with extremely disappointing sales. Without a knowledge of the reason for discontinuance we cannot assume anything concerning records that had already been discontinued.
    [Show full text]
  • Grand Finals Concert
    NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Carlo Rizzi National Council Auditions host Grand Finals Concert Anthony Roth Costanzo Sunday, March 31, 2019 3:00 PM guest artist Christian Van Horn Metropolitan Opera Orchestra The Metropolitan Opera National Council is grateful to the Charles H. Dyson Endowment Fund for underwriting the Council’s Auditions Program. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Carlo Rizzi host Anthony Roth Costanzo guest artist Christian Van Horn “Dich, teure Halle” from Tannhäuser (Wagner) Meghan Kasanders, Soprano “Fra poco a me ricovero … Tu che a Dio spiegasti l’ali” from Lucia di Lammermoor (Donizetti) Dashuai Chen, Tenor “Oh! quante volte, oh! quante” from I Capuleti e i Montecchi (Bellini) Elena Villalón, Soprano “Kuda, kuda, kuda vy udalilis” (Lenski’s Aria) from Today’s concert is Eugene Onegin (Tchaikovsky) being recorded for Miles Mykkanen, Tenor future broadcast “Addio, addio, o miei sospiri” from Orfeo ed Euridice (Gluck) over many public Michaela Wolz, Mezzo-Soprano radio stations. Please check “Seul sur la terre” from Dom Sébastien (Donizetti) local listings. Piotr Buszewski, Tenor Sunday, March 31, 2019, 3:00PM “Captain Ahab? I must speak with you” from Moby Dick (Jake Heggie) Thomas Glass, Baritone “Don Ottavio, son morta! ... Or sai chi l’onore” from Don Giovanni (Mozart) Alaysha Fox, Soprano “Sorge infausta una procella” from Orlando (Handel)
    [Show full text]
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • STEPHEN COSTELLO in an EVENING of BEL CANTO ARIAS
    MEDIA RELEASE: October 2, 2019 CONTACT: Katie Syroney, Interim Communications Director (513) 768-5526 or [email protected] Editors’ note: Images available upon request. CINCINNATI OPERA PRESENTS METROPOLITAN OPERA STAR STEPHEN COSTELLO in AN EVENING OF BEL CANTO ARIAS Considered to be “among the world’s best tenors” (Daily Express, UK), Costello performs opera favorites at Memorial Hall Oct. 29 CINCINNATI—Cincinnati Opera proudly presents world-renowned tenor Stephen Costello in a special concert event this fall. On Tuesday, October 29, Costello will perform an evening of opera favorites in the beloved bel canto (Italian for “beautiful singing”) style, including excerpts from The Elixir of Love, Rigoletto, Lucia di Lammermoor, and more. The concert reunites Costello with Cincinnati Opera after his acclaimed performances as Rodolfo in La Bohème (2010) and Alfredo in La Traviata (2012). The event also celebrates the recent release of Costello’s first solo album, A Te, O Cara, a collection of bel canto arias by Donizetti, Verdi, and Bellini on the Delos label. “A prodigiously gifted singer whose voice makes an immediate impact” (Associated Press), Stephen Costello stands “among the world’s best tenors” (Daily Express, UK). The Philadelphia-born artist came to national attention in 2007, when, aged 26, he made his Stephen Costello Metropolitan Opera debut on the company’s season-opening night. Photo: Merri Cyr Two years later, Costello won the opera industry’s prestigious Richard Tucker Award, and he has since appeared at many of the world’s most important opera houses and music festivals, including London’s Royal Opera House, Deutsche Oper Berlin, Vienna State Opera, Lyric Opera of Chicago, San Francisco Opera, Washington National Opera, and the Salzburg Festival.
    [Show full text]
  • Rigoletto En La Biblioteca Pública “Azorín” Octubre 2012
    Rigoletto en la Biblioteca Pública “Azorín” Octubre 2012 ■ INTRODUCCIÓN Rigoletto es un melodrama en tres actos con música de Giuseppe Verdi y libreto en italiano de Francesco Maria Piave, basado en la obra teatral Le Roi s'amuse, de Víctor Hugo. Fue estrenada el 11 de marzo de 1851 en el teatro La Fenice de Venecia. Está considerada por muchos una de las primeras obras maestras operísticas de mediados de la carrera de Verdi. Se trata de un drama de pasión, engaño, amor filial y venganza que tiene como protagonista a Rigoletto, el bufón jorobado de la corte del Ducado de Mantua. Historia Composición A principios de 1851, el teatro de La Fenice de Venecia invitó a Verdi a componer una nueva ópera para ser estrenada allí, en una época en que ya era un compositor bien conocido con un grado de libertad a la hora de elegir las obras que prefería musicar. Pidió entonces a Piave (con quien ya había trabajado en Ernani, I due Foscari, Macbeth, Il corsaro y Stiffelio) que examinara la obra Kean de Alejandro Dumas, padre, pero sentía que necesitaba un tema más enérgico con el que trabajar. Verdi pronto dio con el drama francés Le roi s’amuse (El rey se divierte), del escritor Víctor Hugo. Más tarde explicó que "Contiene posiciones extremadamente poderosas... El tema es grande, inmenso, y tiene un personaje que es una de las más importantes creaciones del teatro de todos los países y todas las épocas". Era un tema muy controvertido y el propio Hugo había tenido problemas con la censura en Francia, que había prohibido producciones de esta obra después de su primera representación casi veinte años antes (y continuaría prohibida durante otros treinta años).
    [Show full text]
  • Mindfulmusicmoments
    MINDFULMUSICMOMENTS Mindful Music Moments works in partnership with the Cincinnati Symphony Orchestra, Cincinnati Opera and the Contemporary Arts Center to bring you mindfulness and beautiful music. We hope you will take this time to quiet your mind, find your breath, and connect with your very best self. FUN FACT: Classical Clip: Recondida Armonia (Strange Harmony) Composer: Puccini At the end of this opera, Composed: 1900 Tosca is supposed to Partner: Cincinnati Opera leap from the roof of the prison. Fortunately for This opera is a love story between a painter named Mario her, most productions Cavaradossi and Floria Tosca. This aria, sung by Cavaradossi, will have a huge “Recondita armonia” happens within the first 10 minutes of mattress or trampoline the opera. In the aria, he compares Tosca’s beautiful features set up to cushion her to those of another woman’s portrait that he is painting. landing so that she will not hurt herself. How- ever, there are many DAY 1: This famous tenor aria is a romanza, or a simple vocal ballad that con- rumors of productions veys an especially tender, romantic quality. What instruments do you hear that make it sound romantic or tender? Feel your body quiet as you listen to where the bounciness of this calming music. the trampoline has sent Tosca bouncing back up DAY 2: A tenor is the highest male voice part. Where in this aria do you over the prison wall and hear the highest singing? Do you like this sound? into full view, much to DAY 3: In the first 20 seconds of this piece when only the orchestra is playing, the amusement of the listen very carefully for the flutes as they play a fluttering bird-like passage.
    [Show full text]
  • The Hyechra Club
    THE HYECHRA CLUB The narrator has had a lively interest in The Hyechka Club since its beginning and believes that its history merits recording and dmu- menting in The Chronicles of OkZuhoma, Members of the Club in the past have been interested and its members today are interested in building and supporting a city and a state as cultural centers in which to rear patriotic and Clod-fearing children worthy of the loftiest ideals. Instead of a brief history, this band of music lovers is entitled to a fdsized, two volume publication to report ad* quately all that they have given to the education of young people along cdtural lines and to the wealth of Tulsa and the State of Oklahoma as expressed in the leadership and influence of the known and unknown contributors. Looking over the names of world famous artists that have appeared on its early programs and in its annual Spring Festivals, the words of Warner Van Valkenburg are a fitting tribute and introduction even to this brief history of Tulsa's pioneer organization of music lovers :l "I AM MUSIC. "I am the hymns of the Christian Martyrs in the catacombs; I am the songs of thanksgiving of the kneeling Pilgrime; I am the fugues of Bach, and the oratorios of Handel and Haydn; I am the magic flute of Momrt; I am the immortal symphonies of Beethoven; I am the throbbing mee- sages of Schubert and Schumann; I am the nocturnes of Chopin and the folk melodies of Dvorak; I am the rhapsodies of Linzt and the music- dramas of Wagner; I am the voice of Peter Tchaikowski, crying in the wilderness; I am Brahms and Richard Straues, and Verdi, fulfilling the command of destiny; yea I have breathed upon the harps of MacDowell and Cadman, and have sung of a new world in the west.
    [Show full text]
  • Madama Butterfly
    GIACOMO PUCCINI madama butterfly conductor Opera in three acts Pier Giorgio Morandi Libretto by Giuseppe Giacosa and production Anthony Minghella Luigi Illica, based on the play by David Belasco director and choreographer Carolyn Choa Wednesday, November 13, 2019 7:30–10:45 PM set designer Michael Levine costume designer Han Feng lighting designer Peter Mumford puppetry The production of Madama Butterflywas Blind Summit Theatre made possible by a generous gift from revival stage director Mercedes and Sid Bass Paula Williams The revival of this production is made possible by a gift from Barbara Augusta Teichert general manager Peter Gelb jeanette lerman-neubauer music director Co-production of the Metropolitan Opera, English Yannick Nézet-Séguin National Opera, and Lithuanian National Opera 2019–20 SEASON The 888th Metropolitan Opera performance of GIACOMO PUCCINI’S madama butterfly conductor Pier Giorgio Morandi in order of vocal appearance lt. b.f. pinkerton imperial commissioner Andrea Carè Bradley Garvin goro the registr ar Eduardo Valdes Juhwan Lee suzuki the bonze Elizabeth DeShong Raymond Aceto* u.s. consul sharpless prince yamadori Paulo Szot Jeongcheol Cha cio - cio -san k ate pinkerton Hui He Megan Esther Grey** her rel atives: cousin cio - cio -san’s child Elizabeth Sciblo Kevin Augustine Tom Lee mother Jonothon Lyons Marie Te Hapuku This performance uncle yakusidé ballet soloists is being broadcast Craig Montgomery Hsin-Ping Chang live on Metropolitan Andrew Robinson Opera Radio on aunt SiriusXM channel 75. Anne Nonnemacher
    [Show full text]