Download Booklet
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Midsummer Night's Dream
Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears -
Children in Opera
Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls ................................................................................. -
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development. -
2018 Spotlight Classical Voice Semifinal Panel
2018 Spotlight Classical Voice Semifinal Panel Mary Levin Cutler graduated USC with a Master of Music degree. She lectures in ethnomusicology and lectures for CSULA, the United Nations Association, and various schools and organizations. Ms. Cutler has received the CSULA Tribute to Excellence, the Sybil Brand Award, the 2005 CSULA Distinguished Alumnae - College of Arts and Letters, and a Music Education Award from Master Classes Int. She is a Fellow of the American Institute of Fine Arts. Currently, she serves as immediate past chair of Young Artists Int., a member of the Young Musicians Foundation. She also serves as Opera Judge for Zachary Opera Auditions, past President of the American Youth Symphony, and is a former President of the L.A. Concert Opera Association. She has performed for the Dallas Summer Musicals, the Easter Sunrise Service at the Hollywood Bowl, the Brentwood-Westwood Symphony Orchestra, and La Mirada Symphony. Patricia Gee is an Adjunct Professor of Voice at Chapman University and University of Redlands. Ms. Gee has been a soloist in performances throughout the United States, including Menotti's The Telephone, Mozart's The Impresario and Coronation Mass, Resphighi's Laud to the Nativity, and Handel's Messiah, among others. Patricia was active as a faculty member for the Operafestival di Roma in Rome, Italy and was also a featured soloist in the companion CD for the 21st Century Voice by Michael Edward Edgerton. Ms. Gee has been a guest lecturer for the California Music Educators Association and has been the recipient of many teaching awards, including the Excellence in Teaching Award from the University of Redlands. -
September-2016-Auction.Pdf
78 CLASSICAL GALLERY CLASSICAL RECORD AUCTION No. 2 CLOSING DATE: SEPTEMBER 30, 2016 NEW AUCTION AUCTION CLOSING DATE: SEPTEMBER 30, 2016 Here you will find a list of early 78 rpm recordings of interest to every level of collector. Most items are focused on Classical selections from the 1898- 1940 period, some a bit more common but of really nice condition. The condition of grading employed here is: CONDITION GRADING: 1: UNPLAYED 1-2: TOP CONDITION 2: VERY FINE COPY- A FEW RUBS OR MARKS, NO NEEDLE WEAR 2-3 SOME RUBS, NON-SOUNDING BLEMISHES, NO NEEDLE WEAR. 3: SOME HEAVIER RUBS, MARKS, NO-SOUNDING BLEMISHES. AN AVERAGE COPY 3-4: LIGHT-SOUNDING WEAR (GREYING), RUBS. 4: SOUNDING WEAR, RUBS, MARKS 4-5: WEAR, RUBS, MARKS 5: OBVIOUS SOUNDING WEAR, HEAVY RUBS, MARKS 5-6: HEAVY WEAR, RUBS, MARKS 6: A WRECK! ONLY LISTED FOR EXTREME RARITY. As you can see, I’ve used Larry Holdridge’s grading scale as it seems to be the most universally accepted and understood system. However, if there are any questions, please feel free to call or e-mail for more clarification. This list is also posted on my website: www.78classicalgallery.com. Please submit bids either electronically through the website, or via USPS mail. Either are welcome. In the meantime, enjoy your perusal of these items. Good luck! Best wishes, David Schmutz # Image Name Artist Selection Min. Bid CLYINDERS FRENCH PATHE #3496 AFFRE: HUGUENOTS- PLUS PATHE SALON BLANCHE (MEYERBEER).- 1902 BLACK WAX, WRITING ON CYLINDER: AFFRE- RIM A BIT FADED AND RUBBED. IN ORIGINAL CASE WITH 1 AFFRE $200.00 HUGUENOTS ARIA ORIGINAL LID. -
Changing Fortunes > Opera News > the Met Opera Guild
Changing Fortunes > Opera News > The Met Opera Guild http://www.operanews.com/Opera_News_Magazine/2007/7/Fea... Features July 2007 — Vol. 71, No. 1 (http://www.operanews.org/Opera_News_Magazine/2007/7 /THE_CAREER_ISSUE.html) Changing Fortunes BARRY SINGER assesses the legacy of Gian Carlo Menotti, whose Saint of Bleecker Street arrives this month at Central City Opera. When Gian Carlo Menotti first Deep down, Menotti was surfaced, in 1937, as a twenty- no rebel. five-year-old Italian-born prodigy from the shores of Lake Lugano in Lombardy, by way of the Curtis Institute in Philadelphia, the world of American opera was waiting for him - or for someone, anyone like him. The Depression had taken down a number of America's major companies, including the Chicago Opera, and had pummeled the Metropolitan Opera to the brink of Muriel Dickson in the bankruptcy. Accessibility was suddenly a Met premiere of Menotti in rehearsal for paramount concern within these Menotti's Amelia Goes The Medium, 1947 infamously elitist institutions - to the Ball, 1938 (http://www.operanews.org accessibility in the populist sense of new /_uploaded/image/article (http://www.operanews.org /menottimedlg7107.jpg) social equality for potential ticket- /_uploaded/image/article Menotti in rehearsal for buyers, but also in the hardcore /dicksonamelialg7107.jpg) The Medium, 1947 marketing sense. American opera Muriel Dickson in the companies needed new operas they Met premiere of could sell. Menotti's Amelia Goes to the Ball, 1938 Of course, no one at the top knew precisely what such an opera should sound like. Menotti showed them. His first, Amelia al Ballo, was a frolicsome Puccini send-up with dark undercurrents - a mixture of diversion and dire foreboding for an American audience consumed by the oncoming conflagration in Europe. -
Enrico Caruso: La Biografia Di Un Divo Alle Origini Dell'industria Culturale
Corso di Laurea specialistica (ordinamento ex D.M. 509/1999) in Musicologia e Beni Musicali Tesi di Laurea Enrico Caruso: la biografia di un divo alle origini dell’industria culturale. Relatore Ch. Prof. Paolo Pinamonti Laureanda Alessandra Bergagnini Matricola 805082 Correlatori Ch. Prof.ssa Adriana Guarnieri Ch. Prof. Carmelo Alberti Anno Accademico 2012 / 2013 0 INDICE INTRODUZIONE……………………………………………………………2 1. L’infanzia e l’inizio degli studi….……………………………..……..5 2. Prime esibizioni del giovane Caruso……………………………...10 3. Incontro con Nicola Daspuro e debutto…………………..………13 4. A Livorno incontro con Ada e Giacomo Puccini……...……........19 5. Caruso a Milano………………………………………………….....26 6. Delusione al San Carlo………...……………………........…….….39 7. Breve storia della registrazione e prima incisione di Caruso…..46 8. Caruso emigrante negli Stati Uniti…………………………..…….60 9. Anno 1906, gli avvenimenti infelici………………………..………73 10. Il tradimento di Ada………………………………..…………….….82 11. La popolarità della canzone napoletana oltreoceano…………..89 12. Susseguirsi di stagioni al Metropolitan…………………………...95 13. La guerra oltreoceano…………………………………………….101 14. Caruso e il cinema muto…………………………………….……111 15. L’incontro con Dorothy………………………………………..…..118 16. Malattia e fine del suo canto……………………………………..128 DISCOGRAFIA…………………………………………………….…….141 LISTA DELLE RAPPRESENTAZIONI OPERISTICHE DAL 1895 AL 1921…………………………………………….………...167 CONCLUSIONI……………………………………….………………….192 BIBLIOGRAFIA……………………………………….………………….196 1 INTRODUZIONE Enrico Caruso è il tema della presente tesi, la quale -
Musical Narrative in Three American One-Act Operas with Libretti By
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Musical Narrative in Three American One- Act Operas with Libretti by Gian Carlo Menotti: A Hand of Bridge, The Telephone, and Introductions and Good-Byes Elizabeth Lena Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MUSICAL NARRATIVE IN THREE AMERICAN ONE-ACT OPERAS WITH LIBRETTI BY GIAN CARLO MENOTTI: A HAND OF BRIDGE, THE TELEPHONE, AND INTRODUCTIONS AND GOOD-BYES By ELIZABETH LENA SMITH 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, 2005 Copyright © 2005 Elizabeth Lena Smith All Rights Reserved The members of the Committee approve the dissertation of Elizabeth Lena Smith defended on March 14, 2005. ___________________________ Jane Piper Clendinning Professor Directing Dissertation ___________________________ Larry J. Gerber Outside Committee Member ___________________________ Michael H. Buchler Committee Member ___________________________ Matthew L. Lata Committee Member ___________________________ Matthew R. Shaftel Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To someone I once knew… iii ACKNOWLEDGEMENTS I wish to extend my appreciation to my advisor Prof. Jane Piper Clendinning for her continuous support and guidance through the preparation of this document as well as related proposals and presentations that preceded it. In every aspect of my doctoral experience, her encouragement and thoughtful counsel has proven invaluable. Also, my gratitude goes to Prof. Matthew Shaftel (whose doctoral seminar inspired this project) and Prof. -
034-Menotti-The-Medium-Booklet.Pdf
Cedille Records CDR 90000 034 Gian Carlo The Menotti Medium JOYCE CASTLE PATRICE MICHAELS BEDI CHICAGO OPERA THEATER LAWRENCE RAPCHAK, CONDUCTOR Act I (29:56) Time Page 1 Introduction (1:38) 10 2 “Where, oh, where” Monica (1:56) 10 3 “Be careful, Baba’s coming!” Monica (1:13) 10 4 “Where have you been all night?” Monica (0:48) 11 5 “Get ready! Hurry!” Baba (0:38) 11 6 “Good evening, Madame Flora” Mrs. Gobineau (0:33) 11 7 “Is this the first time” Mrs. Gobineau (1:38) 12 8 “It happened long ago” Mrs. Gobineau (2:07) 12 9 “It’s time to begin” Baba (0:55) 13 10 “You must be very silent” Mr. Gobineau (1:12) 13 11 “Mother, mother, are you there?” Monica (1:13) 13 12 “Doodly, Doodly, are you happy?” Mrs. Nolan (0:48) 14 13 “Mummy, Mummy dear” Monica (2:32) 14 14 “Mother, mother, are you there?” Monica (0:48) 15 15 “Send my son to me...” Mr. Gobineau (1:14) 15 16 “What is it? Who is it?” Baba (1:16) 16 17 “But why be afraid?” Mr. Gobineau (0:36) 16 18 “Baba, what has happened?” Monica (1:22) 16 19 “Where is Toby?” Baba (1:32) 17 20 “The sun has fallen” Monica (2:08) 18 21 “The spools unravel” Monica (1:56) 18 22 “Oh God! What is happening to me?” Baba (1:46) 19 Act II (31:56) Time Page 23 Introduction (2:12) 19 24 “Bravo!” (Monica’s waltz) Monica (1:25) 19 25 “What is the matter Toby?” Monica (3:57) 20 26 Baba’s entrance (1:47) 20 27 “Toby, you know that I love you” Baba (1:40) 21 28 “But first you must tell me” Baba (1:47) 21 29 “Perhaps it was not you after all” Baba (1:54) 21 30 “Good evening, Madame Flora” (2:05) 22 Mrs. -
Norbeck, Peters & Ford
Norbeck, Peters & Ford 59 Congress Street Saint Albans, VT 05478-1611 USA 1-802-524-7673; 1-800-654-5302 Fax: 1 888 819 4831 email: [email protected] website: www.norpete.com Auction Number 146 •- AUCTION Closing Date: Friday, 29 May, 2015 1001. AINO ACKTÉ: FAUST – Air des bijoux / LOHENGRIN – Einsam in trüben Tagen (in French). 10½” brown Parl. Odeon PO 93 (XPr 1-2/4-2), (w.Ackté’s signature embossed in shellac). M-A, superlative copy. MB 35 “It is difficult to realise that Ackté's sensational début at Covent Garden was as Salome in Richard Strauss' opera. Here she sings…with grace and excellent coloratura technique, and although she was Finnish, the style is typically French, and with immaculate diction. - John Freestone 1002. AGUSTARELLO AFFRE (The French Tamagno): ARMIDE – Plus j’observe ces lieux (Gluck) / MARCELLE DEMOUGEOT, AGUSTARELLO AFFRE, JUSTE NIVETTE: FAUST - Anges purs, anges radieux. 10½” brown & white French Odéon 97011/60895 (XP 4250/4267). A or better, choice copy has few faintest rubs, positively inaud. MB 15 1003. AGUSTARELLO AFFRE (The French Tamagno): SIGURD – Esprits, gardiens (Reyer) / L’ATTAQUE DU MOULIN – Adieux à la forêt (Bruneau). 10½” brown & gold / brown & white French Odéon 36682/36741 (XP 2460/2565). A to M-A, choice copy. MB 15 1004. AGUSTARELLO AFFRE (The French Tamagno): L’AFRICAINE – Pays merveilleux, 2s. 10½” brown & gold French Odéon 36695/72 (XP 2463/75). A to M-A, choice copy has, Sd.2 only, very few superficial pap.scuffs, barely visible & inaud. MB 15 1005. AGUSTARELLO AFFRE (The French Tamagno): GUILLAUME TELL – Asile héréditaire / LOHENGRIN – In fernem Land (in French). -
Over 100 Opera Makers
#OPERAHARMONY CREATING OPERAS IN ISOLATION 1 3 WELCOME TO #OPERA HARMONY FROM FOUNDER – ELLA MARCHMENT Welcome to #OperaHarmony. #Opera Harmony is a collection of opera makers from across the world who, during this time of crisis, formed an online community to create new operas. I started this initiative when the show that I was rehearsing at Dutch National Opera was cancelled because of the lockdown. Using social media and online platforms I invited colleagues worldwide to join me in the immense technical and logistical challenge of creating new works online. I set the themes of ‘distance’ and ‘community’, organised artist teams, and since March have been overseeing the creation of twenty new operas. All the artists involved in #OperaHarmony are highly skilled professionals who typically apply their talents in creating live theatre performances. Through this project, they have had to adapt to working in a new medium, as well as embracing new technologies and novel ways of creating, producing, and sharing work. #OperaHarmony’s goal was to bring people together in ways that were unimaginable prior to Covid-19. Over 100 artists from all the opera disciplines have collaborated to write, stage, record, and produce the new operas. The pieces encapsulate an incredibly dark period for the arts, and they are a symbol of the unstoppable determination, and community that exists to perform and continue to create operatic works. This has been my saving grace throughout lockdown, and it has given all involved a sense of purpose. When we started building these works we had no idea how they would eventually be realised, and it is with great thanks that we acknowledge the support of Opera Vision in helping to both distribute and disseminate these pieces, and also for establishing a means in which audiences can be invited into the heart of the process too . -
GEORGE HAMLIN [T] 3941
VOCAL 78 rpm Discs CHARLES HACKETT [t] 1974. 10” Purple acous. Columbia 4013-M [79287-2/79879-2]. A DREAM (Bartlett)/ BECAUSE (d’Hardelot). Just about 1-2. $12.00. 3078. 10” Purple elec. Columbia 4034-M [W140985-7/140939-4]. TOSCA: Recondita armonia (Puccini)/BAR- BIERE DI SIVIGLIA: Se il mio nome (Rossini). Just about 1-2. $8.00. 2280. 10” Purple elec. Columbia 4034-M [W140985-7/140939-4]. Same as previous listing (#3078). Small harmless mk. (rub) side two, few lightest rubs. Cons. 2. $7.00. 3316. 12” TC Columbia 49666. FORZA DEL DESTINO: Solenne in quest’ ora (Verdi). With RICCARDO STRAC- CIARI [b]. Label autographed by Hackett. Couple small PBs. 3. $12.00. 3318. 12” TC Columbia 98003. PARTED (Tosti). Excellent quiet pressing, cons. 1-2. $12.00. 1685. 12” Purple acous. Columbia 9016-M [49604-4/98045-3]. BARBIERE DI SIVIGLIA: Ecco ridente (Rossini)/ ROMÉO ET JULIETTE: Ah! lève-toi CHARLES HACKETT soleil (Gounod). Wonderful pressing. Just about 1-2. $20.00. 1775. 12” Purple acous. Columbia 9017-M [49645-1/49895-10]. BOHÊME: Che gelida manina (Puccini)/ELISIR D’AMORE: Una furtiva lagrima (Donizetti). 1” crk. side one from rim into grooves, likely superficial. Otherwise just about 1-2. $8.00. 1776. 12” Purple acous. Columbia 9018-M [49947-7/98047-2]. CARMEN: Air de la fleur (Bizet)/DON GIOVANNI: Il mio tesoro (Mozart). Just about 1-2. $15.00. 3255. 12” Purple acous. Columbia 9020-M [98094-3/98095-3]. FAVORITA: Spirto gentil (Donizetti)/MANON: Ah, fuyez, douce image (Massenet). Just about 1-2.