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KATHERINE BONGFELDT Actress / Singer / Host Cell Phone: 214-287-6523 SAG - AFTRA / AEA / AGMA Email: Kbongfeldt@Hotmail.Com

KATHERINE BONGFELDT Actress / Singer / Host Cell Phone: 214-287-6523 SAG - AFTRA / AEA / AGMA Email: [email protected] FILM AND TELEVISION: TEXASVILLE NELLIE JACKSON (Lead) PETER BOGDANOVICH (Director) With Jeff Bridges DR. T AND THE WOMEN PSYCHIATRIC PATIENT (Supporting) ROBERT ALTMAN (Director) With Richard Gere PANCHO BARNES APRIL SMITH (Lead) RICHARD T. HEFFRON (Director) With Valerie Bertinelli Emmy Award Winning Mini Series WALKER, TEXAS RANGER DONNA (Recurring) CBS PRIME TIME SERIES With Chuck Norris WALKER, TEXAS RANGER JANE GROVER (Guest Star) CBS PRIME TIME SERIES With Chuck Norris RIGHT TO KILL LAWYER’S DAUGHTER (Small Supporting) JOHN ERMAN (Director) With Terry O’Quinn Made for TV COTTON CANDY GIRL AT PARTY (Principal) RON HOWARD (Director) Made for TV CBS SHOWCASE OF NEW TALENT (Starring) FERN ORENSTEIN (Director) THE TODAY SHOW (Guest) NBC MORNING TALK SHOW THE PROSECUTION RESTS THE DEVIL (Starring) PAUL BENZ (Director) COMMERCIALS, VOICE OVERS, INDUSTRIALS, AND PRINT: NATIONAL / REGIONAL / INTERNATIONAL Conflicts On Request Reels On Request THEATRE: (Select Roles Include) KENTARO’S NEW NICKNAME Improviser (Starring) Second City MASTER CLASS (Terrence McNally) Sophie DePalma (Lead) Stage West A LITTLE NIGHT MUSIC with Betty Buckley (Sondheim) Anne (Lead) Philip McKinley (Dir.)/Van Kaplan (Prod.) DIE FLEDERMAUS (Johann Strauss, Jr.) Ida (Lead) Charles Nelson Reilly (Dir.)/Julius Rudel (Con.) BITTER SWEET (Noel Coward) Manon (Lead) North Star Opera THE PIRATES OF PENZANCE (Gilbert & Sullivan) Mabel (Starring) The Historic Opera House THE BOYFRIEND (Sandy Wilson) Polly Brown (Starring) Theatre Three THE GREAT WALTZ (Johann Strauss, Jr. and Sr.) Katie (Lead) North Star Opera THE TRUE STORY OF CINDERELLA (Martin) Cinderella (Starring) The Bob Hope Theatre PHANTOM (Yeston – Kopit) Belladova (Lead) Chanhassen Theatres ANYTHING GOES (Cole Porter) Hope (Lead) Irving Arts Center BEST LITTLE WHOREHOUSE IN TEXAS (King-Masterson) Shy (Lead) Jerry Yoder (Dir.)/Van Kaplan (Prod.) OPERA AND CONCERTS: Extensive Professional Experience and Awards (Credits Upon Request) PROFESSIONAL TRAINING: ACTING: SMU MEADOWS SCHOOL OF THE ARTS Training Includes American Method, Improv (Both Comedy and Drama), and Stage Combat COMEDY: SECOND CITY SINGING: SMU MEADOWS SCHOOL OF THE ARTS and PRIVATE VOCAL LESSONS (19 Years) Bachelor of Music (Voice Performance) Thomas Hayward (Primary Teacher) List of Teachers Upon Request DANCE: SMU MEADOW SCHOOL OF THE ARTS and BROADWAY DANCE CENTER Various Styles including: Tap, Jazz, Ballet, Modern, and Ballroom (14 years) List of Teachers Upon Request OTHER SKILLS: Italian, German, French Diction; Swimming, Bike Riding; Whistling, Imitation of Big Band Horn .

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PACO158 Front.Std
[ill □§@ Pristine □ □ Pristine DIGITAL AUDIO PACO 158 Puccini XR XR Manon Lescaut PACO 158 Giacomo Puccini's third opera, Manon Lescaut, premiered at the Teatro Regio, Turin in 1893 and was the first of his operas to garner I I international acclaim. Musically the opera showed clear evidence of Puccini's growing mastery of tuneful lyricism and his ability to Rn~~t~u~ n evoke a sense of place. The story of a doomed heroine was one that Puccini would return to with even greater success in La Bohf?me (1896), Tosca (1900) and Madama Butterfly (1904). The New York premiere in 1907 featured Lina Cavalieri, Enrico Caruso and Antonio Scotti in the cast, and Puccini himself in the audience, but fell out of the repertoire in between 1929 and 1949. When a new Met production of Manon Lescaut was mounted in 1949 it featured Swedish t enor Jussi Bjbrllng as Des Grieux. Bjbrling learned only two new roles after branching out from his operatic home at the Royal Swedish Opera in the lat e 1930s. One was Don manon licia albanese Carlo, which opened Rudolf Bing's tenure as general manager of the Metropolitan Opera in November 1950, the other was Des Grieux in Manon Lescaut. Over ten years, between 1949 and 1959, Bjbrling sang the role just 25 times, but we have no less than four des grieux Jussi bjbrling complete recordings of him in this opera: the Met's first ever broadcast of the opera in 1949, a studio recording in 1954, this Met broadcast from 1956, and a bi-lingual broadcast from Stockholm in 1959.
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ARSC Journal
A METROPOLITAN OPERA DISCOGRAPHY Frederick P. Fellers, comp. The Metropolitan Opera on Record: A discography of the commercial recordings. Westport, Connecticut: Greenwood Press, 1984. (Discographies, No. 9.) Pp. xix+ 101. $25.00. Just what belongs in a Metropolitan Opera discography? A few years back, in anticipation of the company's recent centennial, I pondered possible approaches. Most expansively--and most usefully for the growing field of performance history--one might tabulate all recordings ever made by people who performed at the Met. A mammoth undertaking, that; if it didn't quite do for vocalists what Creighton's census did for fiddlers on disc, it would probably bulk as large, and cost even more to produce. One might reasonably suggest restricting the listings to recordings of music the singers actually sang at the Met, but in practice that would make an extremely frustrating book: nothing less than a vast collection of partial discographies! And, although not as bulky as the first alternative, it would be almost as complex to compile--after all, the research would have to be equally comprehensive, simply to establish the completeness of the listings of Met-role recordings. Frederick Fellers' Metropolitan Opera discography has, sensibly, a more restricted aim: to list, in the words of the introduction, "all known commercial recordings made by the Metropolitan Opera Chorus and Orchestra, with and without soloists"--in effect, all recordings involving the permanent forces of the company, not merely its transient soloists. (He--! think wisely--doesn't tackle the copious literature of live-performance recordings, which entail different sorts of discographical problems.) Within this central area of Met recordings, Fellers has done useful and thorough work, and--as far as I can check data against my own collection and sources--done it meticulously and reliably.
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BULLETIN CENTRAL OPERA SERVICE 147 West 39Th Streej New York 18, New York
BULLETIN CENTRAL OPERA SERVICE sponsored by METROPOLITAN OPERA NATIONAL COUNCIL 147 West Thirty-ninth Street, New York 18, N.Y. Telephone: PEnnsylvania 6-1200 This issue: SURVEY OF OPERA WORKSHOPS AND CONTEMPORARY OPERA PERFORMANCES March-April, 1964 NEW OPERAS AND PREMIERES It is reported that Ned Rorem ("Childhood Miracle","The Robbers") while in residence at Yaddo, Saratoga Springs, N.Y., is working on a new opera entitled MISS JULIE. Kenward Elmslie is responsible for the libretto. ******* The Center for Advanced Study at the University of Illinois commissioned Robert Kelly, Professor of Composition at the University, to write an opera. Professor Kelly has chosen for his theme the conquest of Mexico presented from the Aztec viewpoint. The opera will be entitled THE WHITE GODS. ******* Jack Gottlieb, assistant to Leonard Bernstein, will witness the premiere of his one-act opera TEA PARTY on April 18 at the Donnell Library, 23 W. 53 St. in New York. It is written for soprano, alto, tenor and baritone and will be performed with the accompaniment of two pianos. The opera, which the composer subtitles "Movement I of a Symphony of Operas" is available through Boosey and Hawkes. ******* The Central City Opera commissioned work, LADY FROM COLORADO, will be pre- miered in Central City on July 3. The Robert Ward-Bernard Stambler work is based on a book by Homer Croy and actual Colorado history and was commissioned in honor of the 100th anniversary of the University of Den- ver (formerly Colorado Seminary). ******* Shostakovich's KATERINA ISMAILOVA (see Jan. Bulletin) will be premiered in the U.S.
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True to My Own Voice: Ethical Challenges in Talent Development
AN OCCASIONAL PAPER VOLUME 32 True to My Own Voice: Ethical Challenges in Talent Development Barbara Hill Moore THE CARY M. MAGUIRE CENTER FOR ETHICS & PUBLIC RESPONSIBILITY SOUTHERN METHODIST UNIVERSITY DALLAS, TEXAS Part of the Maguire Ethics Center’s mission is to “provide moral reflection on TRUE TO MY OWN VOICE: contemporary issues.” Certainly, one of the more visible ways we do that is by providing a venue for customary scholarly discourse for select SMU professors, and Ethical Challenges in Talent occasionally, visiting scholars. Development In ancient Athens, elders would provide an oral narration intended to pass along the values, customs and beliefs from one generation to the next one. By Henry Purcell exclaims in his song, “If music be the the Renaissance, the practice transformed into written form through public essays food of love, sing on ‘til I am fill’d with joy; for then, my list’ning designed to be widely shared among community members. The Maguire Ethics soul you move to pleasures that can never cloy. Your eyes, your Center combines these two rich traditions asking these notable scholars to present mien, your tongue declare that you are music ev’rywhere!”1 their research on ethics in a public forum and then transforming those ideas for When the Biblical prophetess, Miriam, and the other women publication in our Occasional Paper Series. We are delighted to publish this paper 2 by Barbara Hill Moore titled “True to My Own Voice: Ethical Challenges in Talent went out with timbrels, she said, “Sing to the Lord!” Similarly, Development” and hope that you will pass it along.
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Leoncavallo's Pagliacci
Leoncavallo’s Pagliacci - A survey of the major studio recordings by Ralph Moore Given the continued popularity of this most enduring of operatic warhorses, it is surprising how few studio recordings it has received compared with other major crowd-pleasers. I have restricted my survey to studio-made, post-war recordings in Italian on the grounds that the average modern collector will want fair (mono) to excellent (digital) sound in the original language; there are only fourteen of those, plus a radio broadcast and two film soundtracks featuring names so famous I thought it best to include them, and, finally, a live concert performance which was a prime recommendation from ‘Gramophone’, the ‘Penguin Guide’ and the ‘Classical Good CD Guide’, so I could hardly ignore it - making eighteen recordings in total. The most recent studio recording in Italian was made nearly thirty years ago in 1992; perhaps that points to a continuing shortage of singers able to do justice to the brief but very demanding role of Canio. All the great tenors of the 50’s and 60’s – Del Monaco, Björling, Tucker, Corelli and Bergonzi - recorded it in the studio, sometimes twice, each of the “The Three Tenors” made his recording in the 70’s, and there is a handful of mostly lesser accounts before Rahbari conducted that final studio version – and that’s it. Doubtless there are other, worthy, live recordings but, as I always say when doing these surveys, I can consider only a sampling of approximately 140 available and have to start – or rather finish – somewhere, so I use studio provenance and quality of singers and sound combined as my criteria for inclusion and mostly exclude live versions, which still permits me to consider five recordings from the 50’s in fair mono sound.
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Brooklyn Opera Company Guido G
BROOKLYN OPERA COMPANY GUIDO G. SALMAGGI, General Director in association with the BROOKLYN ACADEMY of MUSIC presents I 1959 FALL OPERA SEASON opening Saturday Evening, September 26, 1959 with VERDI 's LARINA TELLIFOBZA - EDDY RUHL - FRANK VALENTINO DEL -LLOYD HARRIS •DESTINO CARLO MORESCO, CONDUCTOR * Celebrated artists who will appear during the 1959 Season * 30 Lafayette Avenue • Brooklyn 17, New York • STerling 3·6700 BROOKLYN OPERA C0 MPAN Y/ Inc • An educational, non-pro fit m embership t·o rporation formed to foster. encourage and promote an interest in and appreciation of operatic p erformances and musical art." 1860 BROADWAY NEW YORK 23, N. Y. PLAZA 7-451 7 - SALVATORE BACCALON I* GUIOO G. SALMAGGI FRANK VALENTINO* RINA TElll Bosso GENERAL DIRECTOR Baritone Soprano RITA WYNNE ENRICO LE IDE JEA N SANDERS RIC HAR D TORIGI Soprano Music Director-Conductor Mezzo-Soprano Baritone SALVATORE DEll' ISOLA " SKITCH" HENDERSON CARLO MORESCO EDD Y RUH L Conductor Conductor Conductor Tenor LINA BENELLI GIOVANNI CONSIGLIO TH EODORE GARGIULO JEROME LOMONACO MAR IA MARTELL Soprano Tenor Conductor Tenor Mezzo-Soprano *Courtc&y ~1etropolitan Opera Ass'n. Saln\lorc Del I 'Isola Courte... ) Rod~ers & Hammerstein .. Skitch .. Henderson, Courtesy ~DC Stage Directors FAUSTO BOZZA MARION STEVENS GABOR CA RELL I* Soprano ANTHONY L. STIVANELLO Tenor Music Staff Managem en t: Choreographer ENRICO LEIDE, Music Director FELIX W. SALMAGGI Associates ALAN BANKS 1860 Broadway, New York 23, N . Y. FRANK BASELICE, Music Supervisor :Plaza 7-4515 EMIL SALITO, Orchestra Manager BOX OFFICE OPENS SEPTEMBER 15th MAIL ORDERS NOW! 1959 FALL OPERA SCHEDULE SAT. EVE . LA FORZA DEL DESTINO SEPT.
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Books & Other Printed Material
BOOKS & OTHER PRINTED MATERIAL DISCOGRAPHICAL & REFERENCE BOOKS; BIOGRAPHIES; PROGRAMS Books are all in good, used condition (no damage unless described). “As new” should be just that. “Excellent” would be similar to 2, light dust jacket or cover marks but no problems. “Good” would be similar to 3 (use wear). Any damage or marking is mentioned. DJ = includes Paper Dust Jacket DISCOGRAPHICAL BOOKS 5000. HISTORICAL RECORDS, 1899-1908/09 (Roberto Bauer). Sidgwick & Jackson, 1947. 494 pp. Excellent. $20.00. 5001. HISTORICAL RECORDS, 1899-1908/09 (Roberto Bauer). Sidgwick & Jackson, 1972 reprint. 494 pp. DJ. As new. $25.00. 5002. HISTORICAL RECORDS, 1899-1908/09 (Roberto Bauer). Sidgwick & Jackson, 1972 reprint. 494 pp. DJ. Slightest DJ discoloration. Former owner name stamped in inner covers. Book itself is otherwise as new. $20.00. 5012. VOICES OF THE PAST, Vol. 1. THE GRAMO- PHONE CO. LIMITED (HMV). Single side plus B, C, D & E series. (Bennett). 238 pp. plus index. DJ. As new. 12.00. 5008. VOICES OF THE PAST, Vol. 2. THE INTER- NATIONAL RED LABEL CATALOGUE. [10” DA and VA/VB and AGSA/AGSB]. (Bennett). 233 pp. DJ. As new. 15.00. 5009. VOICES OF THE PAST, Vol. 3. DISCHI FONOTI- PIA (Bennett). 77 pp. DJ. As new. $12.00. 5010. VOICES OF THE PAST, Vol. 4. THE INTERNATIONAL RED LABEL (HMV) CATA- LOGUE – 12” DB RECORDS [DB 100 – DB 21667] (Bennett-Hughes). Oakwood. 400 pp. DJ. Couple slightest cover stains, otherwise as new. $12.00. 5011. VOICES OF THE PAST, Vol. 5. HMV BLACK LABEL CATALOGUE. “D” and “E” (Michael Smith).
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Opera Gala Recital
Loyola University New Orleans School of Music and Theatre Arts Presents Opera Gala Recital with Greer Grimsley, bass-baritone Luretta Bybee, mezzo-soprano Jay Hunter Morris, tenor Clifton Forbis, tenor Amy Johnson, soprano Tyler Smith, tenor Gordon Hawkins, baritone Carol Rausch, piano Michael Borowitz, piano Saturday, September 21, 2019, 7:30 p.m. Louis J. Roussel Performance Hall Program This evening’s performances will be chosen from the following operas and songs: Gott! welch‘ Dunkel hier! Ludwig van Beethoven from Fidelio (1770-1827) Nemico della Patria? Umberto Giordano from Andrea Chénier (1867-1948) Federico’s Lament Francesco Cilea from L‘Arlesiana (1866-1950) Vesti La Giubba Ruggero Leoncavallo from Pagliacci (1857-1919) Act I Duet Giacomo Puccini from Tosca (1858-1924) Dio mi potevi Giuseppi Verdi from Otello (1813-1901) Si pel ciel from Otello Die Frist ist um Richard Wagner from Der fliegende Holländer (1813-1883) Höre mit Sinn, was ich dir sage from Götterdämmerung Winterstürme from Die Walküre O Freund, ich werde sie nicht wiedersehn Erich Korngold from Die tote Stadt (1897-1957) The Giver of Stars Richard Hundley (1931-2018) About the Performers Greer Grimsley bass-baritone Greer Grimsley is internationally recognized as an outstanding singing actor and one of the most prominent Wagnerian singers of our day. Continuing his reign as a leading interpreter of the god Wotan, he sang the eminent role for The Metropolitan Opera’s Der Ring des Nibelungen in Robert Lepage’s landmark production, directly followed by Stephen Wadsworth’s production for Seattle Opera, his 3rd complete Cycle for the company in the last decade.
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Dr. Jennifer E. Glidden 4902 Firewheel Dr. Garland, TX 75044 H
Dr. Jennifer E. Glidden 4902 Firewheel Dr. Garland, TX 75044 H: 214-394-7921 [email protected] Experience Assistant Professor of Music, Voice and Opera Sept. 12– present Texas A&M University-Commerce, Commerce, TX (Adjunct: Sept. 12-13, Instructor: Sept 13-14, Assistant Jan 15-present) Include: Teaching Applied lessons and Opera Scenes Class and Director of the Music Department’s Full Musical/Opera Productions. Vocal Instructor GISD Music Enrichment Program, Garland, TX Aug 05– May 15 *Responsibilities included Instruction in Voice (Students taught during school and private studio) *Assisted in Preparation for all school competitions and contests *Instructed students in basic Music Theory, Sight-Reading, and Ear Training *Prepared students of two annual voice recitals (Classical and Broadway) Private Voice Studio Teacher, Garland, TX Aug 05-Present Music Director Dallas Summer Musical Academy of the Performing Arts, Dallas TX Aug 11-Aug 12 Teaching Fellow University of North Texas, Denton, TX Aug 07-Jun 11 Fellowship Responsibilities Included: *Instruction in Voice (Voice Concentration: Music-Ed/Jazz Studies Majors and Secondary Voice: Minors & Non-Majors) *Weekly Studio Class– which included a required Mock Jury *Prepared Instruction for Outside Class Assignments (required IPA and Word-for-Word Translations, Background research on composer and poet, and Preparation of Hand-outs when singing for Studio Class) *Prepared Students for their Jury per semester *Maintained student attendance records Instructor of Voice Class University of North Texas, Denton, TX Sept 08- May 09 *Instruction in Vocal Techniques and Vocal Pedagogy *Developed course syllabus *Prepared and delivered instruction to students *Prepared daily assignments, midterm and final exams * Maintained student attendance records Education Doctor of Musical Arts (D.M.A.) (Vocal Performance (minor in Opera)) Dec.
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Pope, Andrew S. (1935- )
Collection 492 Pope, Andrew S. (1935- ). Collection, 1753-2018, n.d. 79 feet, 9.5 inches; oversize Andrew Pope is a native of Jonesboro, LA. For college, he attended Southwestern Louisiana Institute (now the University of Louisiana at Lafayette) and graduated in 1958. He was then drafted into the U.S. Army, where he worked at the National Security Agency in Fort Meade, MD. He left the service in 1961 and worked as a Department of Defense security specialist for 37 years. As a teenager, Mr. Pope collected opera memorabilia and listened to music programs on the radio. Living near Louisiana Polytechnic Institute in Ruston (now Louisiana Tech University), he was able to attend many concerts. In 1957 Mr. Pope heard the famous tenor Jussi Bjorling in recital and received an autographed program, which sparked his interest in collecting opera autographs. After 43 years of opera and concerts, he amassed a large collection with the help of many dealers. Mr. Pope currently resides in Minden, LA. This collection contains opera and theater memorabilia Mr. Pope collected over the years. The materials include photographs of vocalists, programs, letters, publicity, music sheets, and postcards. A great number of the photographs and letters have been framed. Andrew Pope donated this collection. Series: A. Personal 1-01 through 1-05 B. Photographs 1-06 through 1-18 C. Illustrations 1-19 through 1-21 D. Autographs 1. Photographs 2-01 through 2-09 2. Postcards 2-10 3. Paper 2-11 through 2-12 4. Programs 2-13 through 2-27 5. Souvenir Programs/Libretto 2-28 6.
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Puccini's Manon Lescaut
Puccini’s Manon Lescaut: A discographical survey by Ralph Moore Manon Lescaut, Puccini’s third opera, premiered in 1893, was his first big success. However, its origins were not auspicious; the libretto was cobbled together by input from no fewer than seven contributors, including the composer himself, the librettist for his “Big Three”, Luigi Illica, his publisher, Ricordi, and the composer of I Pagliacci, Leoncavallo. Manon Lescaut tells a good, solid story, as previous settings of Abbé Prévost’s novel of 1731 had already demonstrated, but the narrative undoubtedly has its flaws and it certainly has some structural weaknesses incurred by the omission of significant event. As a result, the action is rather episodic: for example, we leap from the young lovers’ escape to Paris at the end of Act 1 to the start of Act 2 depicting Manon already having ditched Des Grieux for the comfort of Geronte’s wealth. Motivation is questionable, too; one might wonder why the same Lescaut who in Act 1 was prepared to facilitate Geronte’s abduction of his sister supposedly en route to a convent, suddenly In Act 2 feels moved to help reunite his sister with her ex-lover Des Grieux - although one might argue that he is moved and convinced by the sincerity of Manon’s empty misery as Geronte’s trophy. Finally, Puccini resorts to the faintly absurd expedient of inventing a non- existent Louisiana desert as the location for Manon’s demise rather than the wilderness depicted in the novel – while Massenet dispensed with the New Orleans episode altogether and has his Manon die more credibly on the road to Le Havre.
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Notes on Musicarnival's Production Years, 1954-65
NotesUnder on Musicarnival’s the Production TentYears, 1954-65 UnderNotes on Musicarnival’s the Production Years,Tent 1954-65 * * Written by Bill Rudman and Rebecca Paller To accompany audio restorations produced by The Musical Theater Project The Lt. Col. Robert “Jim” Price Musicarnival Audio Archive is part of the John L. Price, Jr. Musicarnival Archives Copyright © 2017 by The Musical Theater Project except entries written by Rebecca Paller, Barbara Perris, Stanley Green and Ken Bloom Cover design by Steven Schultz Photos courtesy of the John L. Price, Jr. Musicarnival Archives, Cleveland Public Library -ii- The Partnership CLEVELAND PUBLIC LIBRARY serves four million patrons annually at 28 branches across the city, lending more than 6.5 million items from a collection of more than 10 million. CPL’s library services are also available at the Public Administration Library in City Hall; “The People’s University on Wheels” bookmobile; Ohio Library for the Blind and Physically Disabled; and the “On the Road to Reading” literacy van. CPL is the home for the Ohio Center for the Book, CLEVNET library cooperation, and KnowItNow24x7 virtual reference service. For more information, visit www.cpl.org. Dedicated to preserving the rich legacy of the art form, Goodspeed Musicals’ SCHERER LIBRARY OF MUSICAL THEATRE carefully maintains a comprehensive collection of scores, sheet music, scripts, original cast recordings, programs, photographs and theater memorabilia on the Goodspeed campus in East Haddam, Connecticut. These reference tools are utilized by the musical theater community across the nation in the re-creation and revitalization of period musicals and in the creation and development of new works.
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