World Premiere of Orpheus Alive with Company Premiere of Chaconne Opens November 15 Principal Casting Announced
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Charles M. Joseph. 2011. Stravinsky's Ballets. New Haven: Yale University
Charles M. Joseph. 2011. Stravinsky’s Ballets. New Haven: Yale University Press. Reviewed by Maeve Sterbenz Charles M. Joseph’s recent monograph explores an important subset of Stravinsky’s complete oeuvre, namely his works for dance. One of the aims of the book is to stress the importance of dance for Stravinsky throughout his career as a source of inspiration that at times significantly shaped his develop- ment as a composer. Joseph offers richly contextualized and detailed pictures of Stravinsky’s ballets, ones that will be extremely useful for both dance and music scholars. While he isolates each work, several themes run through Joseph’s text. Among the most important are Stravinsky’s self–positioning as simultaneously Russian and cosmopolitan; and Stravinsky’s successes in collaboration, through which he was able to create fully integrated ballets that elevated music’s traditionally subservient role in relation to choreography. To begin, Joseph introduces his motivation for the project, arguing for the necessity of an in–depth study of Stravinsky’s works for dance in light of the fact that they comprise a significant fraction of the composer’s output (more so than any other Western classical composer) and that these works, most notably The Rite of Spring, occupy such a prominent place in the Western canon. According to Joseph, owing to Stravinsky’s sensitivity to the “complexly subtle counterpoint between ballet’s interlocking elements” (xv), the ballets stand out in the genre for their highly interdisciplinary nature. In the chapters that follow, Joseph examines each of the ballets, focusing alternately on details of the works, histories of their production and reception, and their biographical contexts. -
THE MYTH of ORPHEUS and EURYDICE in WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., Universi
THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., University of Toronto, 1957 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OP PHILOSOPHY in the Department of- Classics We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, i960 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada. ©he Pttttrerstt^ of ^riitsl} (Eolimtbta FACULTY OF GRADUATE STUDIES PROGRAMME OF THE FINAL ORAL EXAMINATION FOR THE DEGREE OF DOCTOR OF PHILOSOPHY of MARK OWEN LEE, C.S.B. B.A. University of Toronto, 1953 M.A. University of Toronto, 1957 S.T.B. University of Toronto, 1957 WEDNESDAY, SEPTEMBER 21, 1960 AT 3:00 P.M. IN ROOM 256, BUCHANAN BUILDING COMMITTEE IN CHARGE DEAN G. M. SHRUM, Chairman M. F. MCGREGOR G. B. RIDDEHOUGH W. L. GRANT P. C. F. GUTHRIE C. W. J. ELIOT B. SAVERY G. W. MARQUIS A. E. BIRNEY External Examiner: T. G. ROSENMEYER University of Washington THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN Myth sometimes evolves art-forms in which to express itself: LITERATURE Politian's Orfeo, a secular subject, which used music to tell its story, is seen to be the forerunner of the opera (Chapter IV); later, the ABSTRACT myth of Orpheus and Eurydice evolved the opera, in the works of the Florentine Camerata and Monteverdi, and served as the pattern This dissertion traces the course of the myth of Orpheus and for its reform, in Gluck (Chapter V). -
Orfeo Euridice
ORFEO EURIDICE NOVEMBER 14,17,20,22(M), 2OO9 Opera Guide - 1 - TABLE OF CONTENTS What to Expect at the Opera ..............................................................................................................3 Cast of Characters / Synopsis ..............................................................................................................4 Meet the Composer .............................................................................................................................6 Gluck’s Opera Reform ..........................................................................................................................7 Meet the Conductor .............................................................................................................................9 Meet the Director .................................................................................................................................9 Meet the Cast .......................................................................................................................................10 The Myth of Orpheus and Eurydice ....................................................................................................12 OPERA: Then and Now ........................................................................................................................13 Operatic Voices .....................................................................................................................................17 Suggested Classroom Activities -
Youth Guide to the Department of Youth and Community Development Will Be Updating This Guide Regularly
NYC2015 Youth Guide to The Department of Youth and Community Development will be updating this guide regularly. Please check back with us to see the latest additions. Have a safe and fun Summer! For additional information please call Youth Connect at 1.800.246.4646 T H E C I T Y O F N EW Y O RK O FFI CE O F T H E M AYOR N EW Y O RK , NY 10007 Summer 2015 Dear Friends: I am delighted to share with you the 2015 edition of the New York City Youth Guide to Summer Fun. There is no season quite like summer in the City! Across the five boroughs, there are endless opportunities for creation, relaxation and learning, and thanks to the efforts of the Department of Youth and Community Development and its partners, this guide will help neighbors and visitors from all walks of life savor the full flavor of the city and plan their family’s fun in the sun. Whether hitting the beach or watching an outdoor movie, dancing under the stars or enjoying a puppet show, exploring the zoo or sketching the skyline, attending library read-alouds or playing chess, New Yorkers are sure to make lasting memories this July and August as they discover a newfound appreciation for their diverse and vibrant home. My administration is committed to ensuring that all 8.5 million New Yorkers can enjoy and contribute to the creative energy of our city. This terrific resource not only helps us achieve that important goal, but also sustains our status as a hub of culture and entertainment. -
A Level Schools Concert November 2014
A level Schools Concert November 2014 An Exploration of Neoclassicism Teachers’ Resource Pack Autumn 2014 2 London Philharmonic Orchestra A level Resources Unauthorised copying of any part of this teachers’ pack is strictly prohibited The copyright of the project pack text is held by: Rachel Leach © 2014 London Philharmonic Orchestra ©2014 Any other copyrights are held by their respective owners. This pack was produced by: London Philharmonic Orchestra Education and Community Department 89 Albert Embankment London SE1 7TP Rachel Leach is a composer, workshop leader and presenter, who has composed and worked for many of the UK’s orchestras and opera companies, including the London Sinfonietta, the Orchestra of the Age of Enlightenment, Wigmore Hall, Glyndebourne Opera, English National Opera, Opera North, and the London Symphony Orchestra. She studied at the Guildhall School of Music and Drama, at Opera Lab and Dartington. Recent commissions include ‘Dope Under Thorncombe’ for Trilith Films and ‘In the belly of a horse’, a children’s opera for English Touring Opera. Rachel’s music has been recorded by NMC and published by Faber. Her community opera ‘One Day, Two Dawns’ written for ETO recently won the RPS award for best education project 2009. As well as creative music-making and composition in the classroom, Rachel is proud to be the lead tutor on the LSO's teacher training scheme for over 8 years she has helped to train 100 teachers across East London. Rachel also works with Turtle Key Arts and ETO writing song cycles with people with dementia and Alzheimer's, an initiative which also trains students from the RCM, and alongside all this, she is increasingly in demand as a concert presenter. -
L'anima Del Filosofo Ossia Orfeo Ed Euridice
Dimanche 15 Mars 2009 15 h 30 à TOURCOING L'ANIMA DEL FILOSOFO OSSIA ORFEO ED EURIDICE Dramma per musica 1791. Musique de Joseph HAYDN. Livret de Carlo Francesco Badini. Créé à Florence en 1951. Direction musicale : Jean-Claude Malgoire Mise en scène : Alita Baldi Décors, Costumes : William Orlandi Chef de chant : Anne Catherine Vinay Joseph Haydn (1732-1809) DISTRIBUTION : Euridice : Hjördis THEBAULT soprano Orfeo : Joseph CORNWELL ténor Creonte : Pierre Yves PRUVOT baryton Genio : Isabelle POULENARD soprano Chœur : L’Atelier des Voix Initiative d’insertion professionnelle pour chanteurs choristes en Nord-Pas de Calais (Domaine Musiques-Atelier Lyrique de Tourcoing) Orchestre : La Grande Ecurie et la Chambre du Roy . Nouvelle production : Atelier Lyrique de Tourcoing . PRIX, transport compris : 1e catégorie : 55 € (adhérents) – 58 € (non adhérents) 2e catégorie : 43 € (adhérents) – 46 € (non adhérents) Jeunes : 15 € (adhérents) – 18 € (non adhérents) DATE LIMITE DE RESERVATION : Jeudi 5 février 2009. Tous les chèques à l’ordre de MUSICA VIVA sont à adresser à : J. BOUVARD 14, Boulevard Depaquit 08200 SEDAN 03 24 27 14 53 DEPART : SEDAN – Collège Turenne : 11 h 30 précises. CHARLEVILLE – Parking Voltaire : 12 h 00 précises. L'Anima del Filosofo ossia Orfeo ed Euridice Le roi Creonte promet sa fille Euridice à Arideo, mais celle-ci aime Orfeo. Pour échapper à ce mariage, Euridice s’enfuit dans la forêt et devient la proie de terribles monstres qu’Orfeo finira par apaiser. Creonte consent au mariage de sa fille avec Orfeo. Un émissaire d’Arideo tente d’enlever Euridice et c’est en essayant de lui échapper qu’elle sera mortellement mordue par un serpent. -
Orfeo Ed Euridice
CHRISTOPH WILLIBALD GLUCK orfeo ed euridice conductor Opera in three acts Mark Wigglesworth Libretto by Ranieri de’ Calzabigi production Mark Morris Sunday, October 20, 2019 set designer 3:00–4:30 PM Allen Moyer costume designer First time this season Isaac Mizrahi lighting designer James F. Ingalls choreographer Mark Morris The production of Orfeo ed Euridice was made possible by a generous gift from Mr. and Mrs. Wilmer J. Thomas, Jr. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2019–20 SEASON The 99th Metropolitan Opera performance of CHRISTOPH WILLIBALD GLUCK’S orfeo ed euridice conductor Mark Wigglesworth in order of vocal appearance orfeo Jamie Barton amore Hera Hyesang Park* euridice Hei-Kyung Hong harpsichord Dan Saunders Orfeo ed Euridice is performed without intermission. Sunday, October 20, 2019, 3:00–4:30PM MARTY SOHL / MET OPERA A scene from Chorus Master Donald Palumbo Gluck’s Orfeo Musical Preparation John Keenan, Dan Saunders, and ed Euridice Howard Watkins* Assistant Stage Directors Gina Lapinski, Stephen Pickover, and Daniel Rigazzi Stage Band Conductor Gregory Buchalter Assistant Choreographer Sam Black Associate Costume Designer Courtney Logan Italian Coach Loretta Di Franco 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 Orfeo ed Euridice is performed in the Vienna version, 1762, edited for the Gluck Complete Works (Gluck-Gesamtausgabe) by Anna Amalie Abert and Ludwig Finscher; used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Bärenreiter-Verlag, publisher and copyright owner. -
The Inventory of the Phyllis Curtin Collection #1247
The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C. -
ORFEO NEL METRÒ Di Claudio Monteverdi
giovedì 2 maggio 2019, ore 21.00 - Palcoscenico del Teatro Ponchielli, Cremona venerdì 3 maggio 2019, ore 21.00 - Palcoscenico del Teatro Ponchielli, Cremona sabato 4 maggio 2019, ore 15.00 e ore 21.00 - Palcoscenico del Teatro Ponchielli, Cremona ORFEO NEL METRÒ di Claudio Monteverdi Hernán Schvartzman, direttore Luigi De Angelis, regia, scene e luci Young Barocco – Stagione d’Opera 2019 Centro di Musicologia Walter Stauffer ORFEO NEL METRÒ Libretto di Alessandro Striggio. Musica di Claudio Monteverdi Edizione Clifford Bartlett, The Early Music Company Ltd. Orfeo Antonio Sapio Musica, Messaggera, Proserpina Arianna Stornello assistente alla regia Andrea Argentieri – direttore di scena Maria Solinas Euridice, Eco, Speranza Veronica Villa maestro di sala sostituto Marco Brunelli – maestro alle luci Eleonora Paolin Caronte, Plutone Lorenzo Tosi responsabile dell’allestimento Beppe Premoli – macchinista Yorsi Eduardo Bandez Corrales Apollo, Pastore II Michele Gaddi elettricisti Marco Bellini, Alberto Bonometti – responsabile sartoria Maria Paolillo Pastore I Danilo Pastore scene e attrezzeria Laboratorio Teatro A. Ponchielli, Cremona Pastore III Stefano Maffioletti illuminotecnica Teatro Ponchielli, Cremona – fonica e video Proservice s.r.l., Cremona Pastore IV Marco Tomasoni Si ringraziano Ninfa Martha Rook Roberto Balconi, vocal coach, docente di canto rinascimentale e barocco Civica Scuola di Musica Claudia Caffagni, coordinatore Orchestra Barocca, docente di musica medioevale Civica Scuola di Musica Spiriti infernali Danilo Pastore, -
Atheneum Nantucket Dance Festival
NANTUCKET ATHENEUM DANCE FESTIVAL 2011 Featuring stars of New York City Ballet & Paris Opera Ballet Benjamin Millepied Artistic Director Dorothée Gilbert Teresa Reichlen Amar Ramasar Sterling Hyltin Tyler Angle Daniel Ulbricht Maria Kowroski Alessio Carbone Ana Sofia Scheller Sean Suozzi Chase Finlay Georgina Pazcoguin Ashley Laracey Justin Peck Troy Schumacher Musicians Cenovia Cummins Katy Luo Gillian Gallagher Naho Tsutsui Parrini Maria Bella Jeffers Brooke Quiggins Saulnier Cover: Photo of Benjamin Millepied by Paul Kolnik 1 Welcometo the Nantucket Atheneum Dance Festival! For 177 years the Nantucket Atheneum has enriched our island community through top quality library services and programs. This year the library served more than 200,000 adults, teens and children year round with free access to over 1.4 million books, CDs, and DVDs, reference and information services and a wide range of cultural and educational programs. In keeping with its long-standing tradition of educational and cultural programming, the Nantucket Atheneum is very excited to present a multifaceted dance experience on Nantucket for the fourth straight summer. This year’s performances feature the world’s best dancers from New York City Ballet and Paris Opera Ballet under the brilliant artistic direction of Benjamin Millepied. In addition to live music for two of the pieces in the program, this year’s program includes an exciting world premier by Justin Peck of the New York City Ballet. The festival this week has offered a sparkling array of free community events including two dance-related book author/illustrator talks, Frederick Wiseman’s film La Danse, Children’s Workshop, Lecture Demonstration and two youth master dance classes. -
Burkholder/Grout/Palisca, Eighth Edition, Chapter 32 30 Chapter 32
30 11. SR: After WW I he founded/directed the __________. Between 19__ and 19__ the society gave approximately Chapter 32 ___ performances. He started the twelve-tone method in Modernism and the Classical Tradition 19__. His wife died and a year later he married ______. (He fathered __ children.) The Nazis came into power in 1. (810) What are the criteria established by the classics? 19__. Although Schoenberg had converted to _____, he converted back. From 19__, he taught at _____. He was forced to retire in 1944 because ________. He died on July __, 1951, a triskaidekaphobiac. 2. Modernists sought to challenge our ______ and _____. 12. SR: Make a list of his major works: 3. (811) Were they opposed to the classics? 4. What is the paradox of modern classical music? 5. All six composers in this chapter "began writing ____ music in the late _____ styles, but then found their own voice. 13. (813) SR: What's his position in the first paragraph? 6. What is the meaning of atonality? 14. SR: What's the essence of the second paragraph? 7. What is the twelve-tone method? 15. "The principle of _____ helps explain how Schoenberg's 8. Name the three works in the first paragraph of "Tonal music would evolve." Works" and name the influential composer. 16. (815) Explain "the emancipation of dissonance." 9. What compositional technique did he employ in his first 17. What were the three elements of Schoenberg's musical string quartet, Op. 7, D minor? What is the structure? organization? 10. -
The Balanchine Trust: Dancing Through the Steps of Two-Part Licensing
Volume 6 Issue 2 Article 2 1999 The Balanchine Trust: Dancing through the Steps of Two-Part Licensing Cheryl Swack Follow this and additional works at: https://digitalcommons.law.villanova.edu/mslj Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Cheryl Swack, The Balanchine Trust: Dancing through the Steps of Two-Part Licensing, 6 Jeffrey S. Moorad Sports L.J. 265 (1999). Available at: https://digitalcommons.law.villanova.edu/mslj/vol6/iss2/2 This Article is brought to you for free and open access by Villanova University Charles Widger School of Law Digital Repository. It has been accepted for inclusion in Jeffrey S. Moorad Sports Law Journal by an authorized editor of Villanova University Charles Widger School of Law Digital Repository. Swack: The Balanchine Trust: Dancing through the Steps of Two-Part Licen THE BALANCHINE TRUST: DANCING THROUGH THE STEPS OF TWO-PART LICENSING CHERYL SWACK* I. INTRODUCTION A. George Balanchine George Balanchine,1 "one of the century's certifiable ge- * Member of the Florida Bar; J.D., University of Miami School of Law; B. A., Sarah Lawrence College. This article is dedicated to the memory of my mother, Allegra Swack. 1. Born in 1904 in St. Petersburg, Russia of Georgian parents, Georgi Melto- novich Balanchivadze entered the Imperial Theater School at the Maryinsky Thea- tre in 1914. See ROBERT TRAcy & SHARON DELONG, BALANci-NE's BALLERINAS: CONVERSATIONS WITH THE MUSES 14 (Linden Press 1983) [hereinafter TRAcY & DELONG]. His dance training took place during the war years of the Russian Revolution.