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1718Studyguidetosca.Pdf
TOSCA An opera in three acts by Giocomo Puccini Text by Giacosa and Illica after the play by Sardou Premiere on January 14, 1900, at the Teatro Constanzi, Rome OCTOBER 5 & 7, 2O17 Andrew Jackson Hall, TPAC The Patricia and Rodes Hart Production Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST & CHARACTERS Floria Tosca, a celebrated singer Jennifer Rowley* Mario Cavaradossi, a painter John Pickle* Baron Scarpia, chief of police Weston Hurt* Cesare Angelotti, a political prisoner Jeffrey Williams† Sacristan/Jailer Rafael Porto* Sciarrone, a gendarme Mark Whatley† Spoletta, a police agent Thomas Leighton* * Nashville Opera debut † Former Mary Ragland Young Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE STORY SETTING: Rome, 1800 ACT I - The church of Sant’Andrea della Valle quickly helps to conceal Angelotti once more. Tosca is immediately suspicious and accuses Cavaradossi of A political prisoner, Cesare Angelotti, has just escaped and being unfaithful, having heard a conversation cease as she seeks refuge in the church, Sant’Andrea della Valle. His sis - entered. After seeing the portrait, she notices the similari - ter, the Marchesa Attavanti, has often prayed for his release ties between the depiction of Mary Magdalene and the in the very same chapel. During these visits, she has been blonde hair and blue eyes of the Marchesa Attavanti. Tosca, observed by Mario Cavaradossi, the painter. Cavaradossi who is often unreasonably jealous, feels her fears are con - has been working on a portrait of Mary Magdalene and the firmed at the sight of the painting. -
The Marriage of Figaro
UNIVERSITY MUSICAL SOCIETY Charles A. Sink, President Lester McCoy, Conductor Gail W. Rector, Executive Director First Concert 1957-1958 Complete Series 3216 Twelfth Annual Extra Concert Series THE NBC OPERA COMPANY m THE MARRIAGE OF FIGARO MOZART SUNDAY EVENING, OCTOBER 6, 1957, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN THE CAST Count Almaviva WALTER CASSEL Countess Almaviva MARGUERITE WILLAUER Susanna, the Countess' maid JUDITH RASKIN Figaro, the Count's valet . MAC MORGAN Cherubino, the Count's page REGINA SARFATY Marcellina, an aged dame . RUTH KOBART Basilio, a music master LUIGI VELUCCI Don Curzio, a judge FRED CUSHMAN Bartolo, a doctor . EMILE RENAN Antonio, a gardener-Susanna's uncle EUGENE GREEN Barbarina, his daughter . BERTE GOAPERE Crier . RICHARD KRAUSE Country men and women, court attendants, hunters, and servants. (Cast subject to change) Conductor and Stage Director: PETER HERMAN ADLER Baldwin piano courtesy 0/ Maddy Music Company, Ann Arbor. A R S LON G A V I T A BREVIS THE MARRIAGE OF FIGARO By WOLFGANG AMADEUS MOZART Libretto by DAPONTE Based on a comedy by BEAUMARCHAIS English version: EDWARD EAGER Producer: SAMUEL CHOTZINOFF Music and Artistic Director: PETER HERMAN ADLER General Manager: CHANDLER COWLES Costumes: ALVIN COLT The action takes place in the castle and grounds of the Count and Countess Almaviva, near Seville. ACT I Count Almaviva, grown faithless to his Rosina after some years of marriage, has cast a roving eye upon her maid, Susanna, the bride-to-be of his valet, Figaro; while the Count's page, young Cherubino, has fallen in love, if you please, with the Countess herself. -
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. -
A Caravan of Culture: Visitors to Emporia, Kansas by Charles E
A Caravan of Culture: Visitors to Emporia, Kansas by Charles E. Webb INTRODUCTION hat do Ulysses S. Grant, "Buffalo Bill" Cody, Susan B. Anthony, Will Rogers, Ethel Barrymore, and Dr. \Verner Von Braun haye in common"? They were W among the hundreds of famous people that have visited EmpOria, Kansas during the past one hundred years. In dividuals and groups of national and international fame, represen ting the arts, seiencl's. education, politics, and entertainment, have pa~sed before Emporia audiences in a century long parade. Since 1879, this formidable array of personalities has provided informa tion and entertainment to Emporia citizens at an average rate of once eaeh fifteen days, The occasional appearanee of a famous personality in a small city may well be considered a matter of historical coineidence. When, however, such visits are numbered in the hundreds, arc fre quent, and persist for a century, it appears reasonable to rank the phenomenon as an important part of that eity's cultural heritage. Emporia, although located in the interior plains, never ae cepted the role of being an isolated community. It seems that the (own's pioneers eonsidered themselves not on the frontier fringi'" of America, but strategically situated near its heart. From the town's beginning, its inhabitants indicated an intention of being informed and participating members of the national and world communities. To better understand why Emporia was able to attract so many distinguished guests, a brief examination of its early development is required. In the formative years of the city's history wc may identify some of the events, attitudes, and preparations Ihat literally set the stage for a procession of renowned visitors. -
May Festival NICHOLAS FALCONE Band Instruments LUCILLE GRAHAM Piano JAMES HAMILTON Voice HILL AUDITORIUM THEODORE HARRISON Head of Vocal Department ANN ARBOR, MICH
UNIVERSITY SCHOOL OF MUSIC The UNIVERSITY MUSICAL SOCIETY SUMMER SESSION Charles A. Sink, President E. V. Moore, Musical Director JUNE 25 — AUGUST 5, 1928 FACULTY AND OFFICERS Announces the CHARLES A. SINK President THIRTY-FIFTH ANNUAL E. V. MOORE; Musical Director BYRL FOX BACHER Dean of Women DONNA ESSEXSTYN Piano May Festival NICHOLAS FALCONE Band Instruments LUCILLE GRAHAM Piano JAMES HAMILTON Voice HILL AUDITORIUM THEODORE HARRISON Head of Vocal Department ANN ARBOR, MICH. JUVA HIGBIE Public School Music NORA C. HUNT Voice May 16, 17, 18, 19, 1928 GRACE KONOLD Voice FOUR DAYS EDITH KOON Piano SIX CONCERTS MARGARET MACGREGOR Organ V EARL V. MOORE Organ and Theory *DAVID MATTERN Public School Music A FEAST OF GOOD MUSIC MAUDE OKKELBERG Piano HANNS PICK [\ 'Cello and Theory Opera Stars MABEL RHEAD Piano Oratorio Singers •FRANK SHOWERS Public School Music Violinists Pianists NELL STOCKWELL Piano Organists NORA WETMORE Voice Choral Union ANTHONY J. WHITMIRE Violin Children'8 Chorus * Guest Instructor. Symphony Orchestra NOTE—The right is respectfully reserved to make such changes in the personnel of the Faculty of the Summer Session as necessity may require. MICHIGAN'S GREATEST MUSICAL EVENT Artists and Organizations Schedule of Concerts EARL V. MOORE Musical Director I. WEDNESDAY EVENING, MAY 16 FREDERICK STOCK Orchestral Conductor Miscellaneous Artist Concert ERIC DELAMARTER Guest Conductor Dedication of new Frieze Memorial Organ just completed by the Skinner Organ Company at a cost PERCY GRAINGER Guest Conductor of $75,000. Margaret Matzenauer Contralto Palmer Christian Organ Chicago Symphony Orchestra LEONORA CORONA Soprano Frederick Stock Conductor Prima Donna Metropolitan Opera Co. Eric Delamarter Guest Conductor LEONE KRUSE Soprano Prima Donna Chicago Civic Opera 2. -
Toscanini IV – La Scala and the Metropolitan Opera
Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write. -
AO, 7 W 3 Tiffi WARPOEMS: an INTERMEDIA COMPOSITION FOR
37? /iSI AO, 7W3 Tiffi WAR POEMS: AN INTERMEDIA COMPOSITION FOR CHAMBER ORCHESTRA AND CHORUS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Karl W. Schindler, B.M. Denton, Texas August, 1997 Schindler, Karl W., The War Poems: an intermedia composition for chamber orchestra and chorus. Master ofMusic (Composition), August, 1997, 108 pp., 9 musical examples, 3 figures, 3 titles. Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. The War Poems was written for solo male voice, chamber orchestra, and chorus. Text used in the piece was taken from the writings of the English World War I poet, Siegfried Sassoon. The seven sections of the piece are designated by a specific poem of Sassoon's: Section 1. "Secret Music", 2. "The Kiss", 3. "The Dragon and the Undying", 4. "Dreamers", 5. "A Night Attack", 6. "Does It Matter?", and 7. "A Whispered Tale". Slides used came from two sources: public domain photographs from World War I and original photographs by Shannon Drawe. 37? /iSI AO, 7W3 Tiffi WAR POEMS: AN INTERMEDIA COMPOSITION FOR CHAMBER ORCHESTRA AND CHORUS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Karl W. Schindler, B.M. Denton, Texas August, 1997 TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES iv LIST OF FIGURES v INTRODUCTION vi SIEGFRIED SASSOON vii TEXT ANALYSIS viii MUSIC ANALYSIS xv 1. -
Mozart's Figaro and Don Giovanni, Operatic Canon, and National
MARTIN NEDBAL Figaro and Don Giovanni in Prague Mozart’s Figaro and Don Giovanni, Operatic Canon, and National Politics in Nineteenth-Century Prague MARTIN NEDBAL Between 1874 and 1916, the Czech opera en- considered one of the most important symbols semble in Prague celebrated the birthday of the of Bohemia’s cultural and intellectual refine- Austro-Hungarian emperor Franz Joseph I ev- ment ever since the late eighteenth century. In ery 18 August with a special opera performance their reports about late-nineteenth-century preceded by the national anthem and accompa- Czech performances of Don Giovanni and Le nied by special, festive lighting. The choice of nozze di Figaro, Prague’s theater critics repeat- opera varied, but most often it was an original edly mention the festive, celebratory atmo- Czech work, most prominently one by Bedˇrich sphere that supposedly electrified the audiences Smetana (his The Bartered Bride and Dalibor in the theater.1 For over two centuries, more- were performed on two occasions, Two Wid- ows on three, and The Kiss on four). The only two foreign operas used by the Czech ensemble 1This is the case especially with the reviews of Le nozze di to celebrate their emperor more than once were Figaro at the Provisional Theater between 1865 and 1883 Verdi’s Ernani (in 1874 and 1880) and Mozart’s in the journals Naˇse listy, Národní listy, and Politik, as well as the musical magazines Dalibor and Slavoj. Some Le nozze di Figaro (in 1876 and 1883). Whereas reports are so enthusiastic as to exaggerate the festivity of Ernani was most likely chosen for its depiction the performances. -
Rev. Theodore M. Hesburgh, C.S.C., President, University of Notre Daine, at a Memorial Mass for Richard Tucker, St
(Eulogy delivered by the Rev. Theodore M. Hesburgh, C.S.C., President, University of Notre Daine, at a Memorial Mass for Richard Tucker, St. Patrick's Cathedral, New York City, October 14, 1975) On behalf of His Eminence, Terence Cardinal Cooke, who is offering this M.emorial Mass, and especially on behalf of the family of Richard Tucker, his dear wife, Sara, and his sons, Barry, David, and Henry, I welcome all of you, his friends, to this memorial service in the great Cathedral of Saint Patrick, in the great City in which Richard was born, grew up, performed as few others have, so well and so long and so thrillingly, and where so sadly last January he was laid to rest after a heartrending service at the Met in Lincoln Center. To the casual observer, this must seem to be a very unusual occasion: to have a Memorial Mass offered by the Cardinal Archbishop of New York in thanksgiving for the talents of a deceased Jewish opera star in this great Cathedral, with a eulogy preached by the President of the University of Notre Dame. .. All I can say to you, my friends, is that this great man whom we remember so fondly today was a very unusual person. The unusual was the story of his life. The son of poor Bessarabian immigrants, Richard began singing at the age of six in the Allen Street Synagogue on the lower East Side. He was later a drop-out from Brooklyn's New Utrecht High School, to work at every manner of odd jobs so that he could earn enough money to pay for his voice lessons. -
MAX ROSEN, Violinist ISRAEL JOSEPH at the Piano Frflflll Mmtmii, Ml MBIQI, Mffldm M1M, [Feimmv 16, 19118, EMT WLW
MflraiflW 5M1TOI MOIETY 1111=1111 THIRTY-NINTH SEASON No. CCCXII COMPLETE SERIES FIFTH CONCERT MAX ROSEN, Violinist ISRAEL JOSEPH at the Piano frflflll MMTMii, Ml MBIQI, MffldM M1M, [FEiMMV 16, 19118, EMT WLW PROGRAM CHACONNE Tomaso Vitali (1650?) SYMPPIONIE ESPAGNOLE Bd. Lalo Allegro non troppo Andante Rondo (a) ROMANZE, F MAJOR ...... Beethoven (b) CHORUS 01? DERVISHES (from "The Ruins of Athens") Beethoven-Alter (c) TURKISH MARCH Beethoven-Auer AWE WEISE Christian Sinding POLONAISE BRILLANTE, A MAJOR Wieniazvskl STEINWAY PIANO USED THE NEXT CONCERT IN THIS SERIES WILL BE THE FIRST MAY FESTIVAL CONCERT, MAY 15, 1918 TRAFFIC REGULATION.—By order of the Police Department, on the nights of the Choral Union Concerts, vehicles of all kinds will be prohibited on North University Avenue between Thayer and Ingalls Streets; Taxi-cabs must park on the West side of Thayer Street, facing South between North University Avenue and Washington Street; Private autos may be Parked on Ingalls and Washington Streets. Persons on foot are requested to refrain from leaving from the Taxi-cab entrance at the Thayer Street side of the auditorium. SPECIAL INTERUREAN CARS.—East for Detroit and West for Jackson and intervening points will leave from in front of the Auditorium immediately after the concert. Hereafter special cars will leave the Jackson Station at 6:00 (Eastern time) stopping at intervening points. Special cars will also leave Ypsilanti at 7:15 (Eastern time) reaching the auditorium at 7 145. LOST ARTICLES should be enquired for at the office of Shirley W. Smith, Secretary of the University, in University Hall, where articles found should also be left. -
Itwo New American Operas in a Day at Metropolitan
11. L--r THIT SUN, SUNDAY, MARCH 17, .1918. ITWO NEW AMERICAN OPERAS IN A DAY AT METROPOLITAN AlthouM, Leonard, MalateiU, Resell-tslia- n, Olorla," Bononclnl; "The Pretty, Crea- the trenches comprise Carlos Balzedo's English airs and old French and Italian Bads, Moch and d'Angelo. Mr. ture," Old English, fitorace; vleiit In Old .Sonata Form" - "Deh .'Tour Choruses numbers. CONCERTS OF THE WEEK. Pap! will conduct. e non tardar," "None dl Klgaro," Mo. for men's voices and harp, Maurice Slavery Days "Boris Oodunov" on eve'-nln- : inNewOrleans the Theme Thursday sart "l.'en voce poco fa," "Barblcro dl Pavel's two choruses, "Nlcoletto" and The Falxcdo Harp Knaemble, Carlos SUNDAY Symphony Society, Aeolian Hall, 3 P. M. Eddy Uiown, with Mme. Homer, Delaunol. Slvllla," Rossini; Hell Hong from "Trols Beaux Olseaux du Paradls," and Tor-padl- e, Balzedo leader, assisted by Clreta Galli-Curc-i, Howard, Mattfeld and Sparkes, and "Laktnc," flute, Dcllbcs ; Klorent Schmltt's "Chant do Ouerre." violinist, Carnegie Hall, G P. M. Amelita recital, of One, with "SolveJ? soprano, will give second con- t an Indian Maiden, Messrs. Dldur. De. Segurola, Grieg ; Orccnwood solo, voices plane, a Hippodrome, 3 P. M. Opera concert, Metropolitan Opera House,, That Rothler, Rons," "Under the for tenor m4n's and cert on Friday evening, Mnrdi 22, In Althouse, Audlslo, Illoch, Tree," Buzxl-rercl- a ; "I.;i Crepuseule." which sung by Bada. nossl, were all written and first f harp encsmblo will 8:30 P. M. - Schlegel and Mr. ; Hlbella ; In In war. numbers are Aeolian Hall. The of the- Other. -
Krannert Center Debut Artist: Yunji Shim, Soprano
KRANNERT CENTER DEBUT ARTIST: YUNJI SHIM, SOPRANO HANA LIM, PIANO Sunday, April 23 at 3pm Foellinger Great Hall PROGRAM KRANNERT CENTER DEBUT ARTIST: YUNJI SHIM, SOPRANO Hana Lim, piano Reynaldo Hahn A Chloris (1874-1947) Fêtes galantes L’Énamourée Le Printemps Richard Strauss Four Songs, Op. 27 (1864-1949) Ruhe, meine Seele! Heimliche Aufforderung Morgen! Cäcilie Stefano Donaudy Amorosi miei giorni (1879-1925) O del mio amato ben Luigi Arditi Il bacio (1822-1903) 20-minute intermission Sergei Rachmaninoff Coнъ (A dream) Op.8, No.5 (1873-1943) Не пой, красавица! (Oh, never sing to me again) Op.4 No. 4 Здесь хорошо (How fair this spot!) Op. 21 No.7 Весенние воды (spring waters) Op.14 No.11 Ernest Charles When I have sung my songs (1895-1984) And so, goodbye Let my song fill your heart 2 THE ACT OF GIVING OF ACT THE THANK YOU TO THE SPONSORS OF THIS PERFORMANCE Krannert Center honors the spirited generosity of these committed sponsors whose support of this performance continues to strengthen the impact of the arts in our community. * LOUISE ALLEN Ten Previous Sponsorships * * BARBARA & TERRY ENGLAND NADINE FERGUSON One Previous Sponsorship Seven Previous Sponsorships *PHOTO CREDIT: ILLINI STUDIO JOIN THESE INSPIRING DONORS BY CONTACTING OUR DEVELOPMENT TEAM TODAY: KrannertCenter.com/Give • [email protected] • 217.333.1629 3 PROGRAM NOTES REYNALDO HAHN This collection offered by Yunji Shim and Hana Born August 9, 1875, in Caracas, Venezuela Lim thus covers over twenty years of Hahn’s Died January 28, 1947, in Paris, France compositional life plus his long-held interest in À Chloris French poetry from both the Baroque Period and Fêtes galantes the 19th century.