24Th Ludwig Van Beethoven Easter Festival Warsaw, 29 March – 10 April 2020 “Beethoven – the Great Inspirer”

Total Page:16

File Type:pdf, Size:1020Kb

24Th Ludwig Van Beethoven Easter Festival Warsaw, 29 March – 10 April 2020 “Beethoven – the Great Inspirer” 24th Ludwig van Beethoven Easter Festival Warsaw, 29 March – 10 April 2020 “Beethoven – the Great Inspirer” Sunday, 29 March, 12:00 noon Warsaw Philharmonic ul. Sienkiewicza 10 Opening of the exhibition – “BTHVN ON TOUR” [in collaboration with Beethoven-Haus Bonn] Sunday, 29 March, 7:30 pm Warsaw Philharmonic – Concert Hall ul. Sienkiewicza 10 INAUGURATION OF THE FESTIVAL Ludwig van Beethoven Overture to Fidelio, Op. 72 Leonore Overture No. 1, Op. 138 Leonore’s aria “Abscheulicher! Wo eilst du hin?“ from Act 1 of Fidelio Leonore Overture No. 2, Op. 72a Florestan’s aria “Gott! Welch‘ Dunkel hier!“ from Act 2 of Fidelio Duet “O namenlose Freude!” (Leonore, Florestan) from Act 2 of Fidelio Leonore Overture No. 3, Op. 72b Christian Elsner – tenor Simone Schneider – soprano Polish Radio National Symphony Orchestra in Katowice Lawrence Foster – conductor Monday, 30 March, 7:30 pm Warsaw Philharmonic – Concert Hall Anton Webern Passacaglia for orchestra, Op. 1 Ludwig van Beethoven Violin Concerto in D major, Op. 61 Anton Bruckner Symphony No. 1 in C minor, WAB 101 Benjamin Beilmann – violin NFM Wrocław Philharmonic Giancarlo Guerrero – conductor Tuesday, 31 March, 18.00 Fryderyk Chopin University of Music – Concert Hall ul. Okólnik 2 Joseph Haydn Piano Sonata in C major, Hob. XVI:50 Piano Sonata in D major, Hob. XVI:51 Piano Sonata in E flat major, Hob. XVI:52 Franz Schubert Piano Sonata in A major, D. 959 Boris Berman – piano Tuesday, 31 March, 7:30 pm Warsaw Philharmonic – Concert Hall Ludwig van Beethoven Overture to the ballet “The Creatures of Prometheus”, Op. 43 Krzysztof Penderecki Concerto for Flute Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67 Stathis Karapanos – flute Bamberger Symphoniker Christoph Eschenbach – conductor Wednesday, 1 April, 7:30 pm The Royal Castle Plac Zamkowy 4 Beethoven’s Complete String Quartets IV Ludwig van Beethoven String Quartet in E flat major, Op. 74, “Harp” String Quartet in A major, Op. 18 No. 5 String Quartet in E minor, Op. 59 No. 2 Shanghai Quartet Weigang Li – violin Yi-Wen Jiang – violin Honggang Li – viola Nicholas Tzavaras – cello Thursday, 2 April, 5:00 pm The Royal Castle Beethoven’s Complete String Quartets V Ludwig van Beethoven String Quartet in B flat major, Op. 130 String Quartet in F major, Op. 59 No. 1 Shanghai Quartet Weigang Li – violin Yi-Wen Jiang – violin Honggang Li – viola Nicholas Tzavaras – cello Thursday, 2 April, 7:30 pm Warsaw Philharmonic – Concert Hall Luigi Cherubini Faniska Opéra comique in three acts (concert performance) Yuri Gorodetski (Rasinski) – tenor Natalia Rubiś (Faniska) – soprano Katarzyna Belkius (Hedwig) – soprano Robert Gierlach (Zamoski) – bass Tomasz Rak (Oranski) – bass Justyna Ołów (Moska) – soprano Piotr Kalina (Rasno) – tenor The Warsaw Philharmonic Choir Bartosz Michałowski – choirmaster Poznań Philharmonic Orchestra Łukasz Borowicz – conductor Friday, 3 April, 5:00 pm The Royal Castle Beethoven’s Complete String Quartets VI Ludwig van Beethoven String Quartet in B flat major, Op. 18 No. 6 Grosse Fuge, Op. 133 String Quartet in F major, Op. 135 Shanghai Quartet Friday, 3 April, 7:30 pm Warsaw Philharmonic – Concert Hall Piano recital Fryderyk Chopin Polonaise-fantaisie in A flat major, Op. 61 Impromptu in G flat major, Op. 51 Waltz in A flat major, Op. 64 No. 3 Nocturne in E flat major, Op. 55 No. 2 Ballade in F minor, Op. 52 Karol Szymanowski 4 Mazurkas, Op. 50 Sergei Prokofiev Sonata No. 6 in A major, Op. 82 Szymon Nehring – piano Saturday, 4 April, 7:30 pm Warsaw Philharmonic – Concert Hall Sergei Prokofiev Symphony No. 1 in D major, Op. 25, “Classical” Fryderyk Chopin Piano Concerto No. 2 in F minor, Op. 21 Konrad Skolarski – piano Gabriel Prokofiev – DJ, electronicts Polish Sinfonia Iuventus Orchestra Yaniv Segal – conductor Sunday, 5 April, 5:00 pm Warsaw Philharmonic – Chamber Music Hall ul. Moniuszki 5 Piano recital Aleksandra Świgut – piano Krzysztof Książek – piano Adam Goździewski – piano Sunday, 5 April, 7:30 pm Warsaw Philharmonic – Concert Hall Beethoven’s Complete Piano Concertos I Ludwig van Beethoven Piano Concerto No. 2 in B flat major, Op. 19 Piano Concerto No. 3 in C minor, Op. 37 Piano Concerto No. 4 in G major, Op. 58 Rudolf Buchbinder – fortepiano solo and conductor Sinfonietta Cracovia Monday, 6 April, 7:30 pm Warsaw Philharmonic – Concert Hall Beethoven’s Complete Piano Concertos II Ludwig van Beethoven Piano Concerto No. 1 in C major, Op. 15 Piano Concerto No. 5 in E flat major, Op. 73 Rudolf Buchbinder – fortepiano solo and conductor Sinfonietta Cracovia Tuesday, 7 April, 7:30 pm Warsaw Philharmonic – Concert Hall Ludwig van Beethoven Violin Concerto in D major, Op. 61a, piano version Symphony No. 7 in A major, Op. 92 Gottlieb Wallisch – piano Orchester Wiener Akademie Martin Haselböck – conductor Wednesday, 8 April, 7:30 pm The Royal Castle Ludwig van Beethoven Sonata in C major, Op. 102 No. 1 for cello and piano Trio in E flat major, Op. 38 for piano, clarinet and cello Henryk Mikołaj Górecki Recitatives and ariosos “Lerchenmusik“, Op. 53 Michel Lethiec – clarinet Łukasz Krupiński – piano Danjulo Ishizaka – cello Thursday, 9 April, 7:30 pm Warsaw Philharmonic – Concert Hall Ludwig van Beethoven Ah! Perfido, Op. 65 Sergei Rachmaninov Piano Concerto No. 2 in C minor, Op. 18 Pyotr Tchaikovsky Symphony No. 5 in E minor, Op. 64 Sofia Soloviy – soprano Tony Siqi Yun – piano Sinfonia Varsovia Marek Šedivý – conductor Friday, 10 April, 7:30 pm Teatr Wielki – Polish National Opera Plac Teatralny 1 Luigi Cherubini Requiem in C minor Karol Szymanowski Stabat Mater, Op. 53 Natalia Rubiś – soprano Małgorzata Walewska – mezzo-soprano Mariusz Godlewski – baritone Warsaw Philharmonic Choir Bartosz Michałowski – choirmaster Warsaw Philharmonic Symphony Orchestra Andrey Boreyko – conductor The organizers reserve the right to change the programme. .
Recommended publications
  • Ludwig Van Beethoven Hdt What? Index
    LUDWIG VAN BEETHOVEN HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1756 December 8, Wednesday: The Emperor’s son Maximilian Franz, the Archduke who in 1784 would become the patron of the young Ludwig van Beethoven, was born on the Emperor’s own birthday. Christoph Willibald Gluck’s dramma per musica Il rè pastore to words of Metastasio was being performed for the initial time, in the Burgtheater, Vienna, in celebration of the Emperor’s birthday. ONE COULD BE ELSEWHERE, AS ELSEWHERE DOES EXIST. ONE CANNOT BE ELSEWHEN SINCE ELSEWHEN DOES NOT. Ludwig van Beethoven “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1770 December 16, Sunday: This is the day on which we presume that Ludwig van Beethoven was born.1 December 17, Monday: Ludwig van Beethoven was baptized at the Parish of St. Remigius in Bonn, Germany, the 2d and eldest surviving of 7 children born to Johann van Beethoven, tenor and music teacher, and Maria Magdalena Keverich (widow of M. Leym), daughter of the chief kitchen overseer for the Elector of Trier. Given the practices of the day, it is presumed that the infant had been born on the previous day. NEVER READ AHEAD! TO APPRECIATE DECEMBER 17TH, 1770 AT ALL ONE MUST APPRECIATE IT AS A TODAY (THE FOLLOWING DAY, TOMORROW, IS BUT A PORTION OF THE UNREALIZED FUTURE AND IFFY AT BEST). 1. Q: How come Austrians have the rep of being so smart? A: They’ve managed somehow to create the impression that Beethoven, born in Germany, was Austrian, while Hitler, born in Austria, was German! HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1778 March 26, Thursday: In the Academy Room on the Sternengasse of Cologne, Ludwig van Beethoven appeared in concert for the initial time, with his father and another child-student of his father.
    [Show full text]
  • Riccardo Muti Conductor Cherubini Overture in G Major Liszt Les
    Program ONe HuNDreD TweNTieTH SeASON Chicago symphony orchestra riccardo muti Music Director Pierre Boulez Helen regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, April 8, 2011, at 1:30 riccardo muti Conductor Cherubini Overture in G Major First Chicago Symphony Orchestra performances Liszt Les préludes IntermIssIon shostakovich Symphony No. 5 in D Minor, Op. 47 Moderato—Allegro non troppo—Largamente Allegretto Largo Allegro non troppo—Allegro Maestro Muti’s 2011 Spring Residency is supported in part by a generous grant from the National Endowment for the Arts. Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Comments by PHi LLiP HuSCHer Luigi Cherubini Born September 14, 1760, Florence, Italy. Died March 15, 1842, Paris, France. overture in g major n 1841, the year before he died, Beethoven and Haydn were in the ILuigi Cherubini had his portrait audience and spoke glowingly of painted by his close friend, the the work. Mendelssohn admired popular neoclassical artist Jean- Cherubini the opera composer for Auguste-Dominique Ingres. The “his sparkling fire, his clever and painting now hangs in the Louvre, unexpected transitions, and the where it is admired by millions of neatness and grace with which he visitors each year; it has become the writes.” Bruckner learned how to lasting image of a major composer write his own sacred music by copy- who is regularly overlooked, if not ing out movements of Cherubini’s nearly forgotten today.
    [Show full text]
  • Cherubini Luigi
    CHERUBINI LUIGI Compositore italiano (Firenze, 14 IX 1760 - Parigi, 15 III 1842) 1 Decimo figlio di Bartolomeo (Firenze 21 X 1726 - 10 IX 1792), sostituto clavicembalista al teatro della Pergola, e di Veridiana Bosi, iniziò lo studio della musica sotto la guida paterna; a nove anni, morta nel frattempo la madre, andò a scuola presso Bartolomeo ed Alessandro Felici, padre e figlio, i quali proprio allora avevano aperto in Firenze una specie di "bottega" per l'insegnamento del contrappunto. Al 1773 risale la prima composizione elencata in quel catalogo di tutte le sue opere che Cherubini istituì più tardi e tenne fedelmente aggiornato sino alla vigilia della morte. Si tratta di una Messa in Re con accompagnamento di strumenti, cui tengono dietro, nel periodo dal 1773 al 1777 due Intermezzi, due Messe, un Oratorio, altra musica sacra e una Cantata. In seguito a questi precoci successi, il granduca Pietro Leopoldo di Lorena concedette a Cherubini una borsa di studio affinché il giovane musicista potesse stabilirsi nella vicina Bologna e frequentare le lezioni di G. Sarti. Il trasferimento a Bologna ebbe luogo nel 1778, ma non durò molto perché Sarti, nel 1779, vinse il concorso per un posto di maestro di cappella nel Duomo di Milano e a Milano portò seco il suo allievo. Qui Cherubini compose altre musiche sacre (che non si trovano più) a titolo di studio; e da Milano, nello stesso anno 1779, si recò ad Alessandria per musicare e far rappresentare in quel teatro, nella stagione della fiera d’autunno, il suo primo melodramma Quinto Fabio. Poi rientrò a Milano, dove nel 1780 scrisse le 6 Sonate per clavicembalo.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 47,1927-1928, Trip
    SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, December I, at 8.00 PR5GR5W1E A GOOD CHRISTMAS PRESENT FOR THE MEN! $1,188,768,668 is the value of real estate that is evading taxes every year in Massachusetts. This figure is increasing at the rate of $60,000,000 a year. One reason why our taxes keep going up! Shall we bequeath tax exemptions to our children or solve the problem ourselves? READ '1417 NEXT QUESTION j: By EDITH HAMILTON MacFADDEN Published by the author 18 Francis Avenue, Cambridge, Mass. Sent postpaid on receipt of price $4.00 Or your book dealer SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-SEVENTH SEASON 1927-1928 INC. SERGE KOUSSEVITZKY, Conductor SEASON 1927-1928 THURSDAY EVENING, DECEMBER 1, at 8.00 o'clock WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1927, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1 STEINWAY the Instrument of the immortals Not only the best piano, but the best piano value It is possible to build a piano to beauty of line and tone, it is the sell at any given price* but it is not greatest piano value ever offered! often possible to build a good • • . Convenient terms will be piano under such conditions.
    [Show full text]
  • Maria Luigi Carlo Zenobi Salvatore Cherubini Contents
    MARIA LUIGI CARLO ZENOBI SALVATORE CHERUBINI CONTENTS. PAGE P h e p a c e ......................................................................................................................... v B i r t h a n d P a r e n t a g e .....................................................................................1 U n d e r S a r t i ...................................................................................... 3 E a r l ie s t W o r k s .............................................................................................................. 5 V is it s L o n d o n ...............................................................................................................6 L o d o i s l c a............................................................................................9 Medee .. 14 Lea D eux J o u r n e e s.......................................................................19 F a n i s h a........................................................................................................................ 2 8 B e r l io z a n d AU B a b a .................................................................................. 3 2 C h e r u b i n i ’s Ov e r t u r e s .................................................................................. 41 A S a c r e d M u s ic C o m p o s e r .....................................................................4 2 M a s s , i n E........................................................................................................................44 M a s s ,
    [Show full text]
  • Esotismo Nordico. Studio Storico-Critico E Filologico Della Faniska Di Luigi Cherubini
    Scuola Dottorale di Ateneo Graduate School Dottorato di ricerca in Storia delle Arti Ciclo 27° Anno di discussione 2016 Esotismo nordico. Studio storico-critico e filologico della Faniska di Luigi Cherubini SETTORE SCIENTIFICO DISCIPLINARE DI AFFERENZA: L-Art/07 Tesi di Dottorato di Giada Roberta Viviani, matricola 790751 Coordinatore del Dottorato Tutore del Dottorando Prof. Giuseppe Barbieri Prof. Paolo Pinamonti Indice 1 – La Faniska di Luigi Cherubini tra tradizione italiana, tedesca e francese: studio storico critico e filologico dell’opera — Stato dell’arte p. 8 — La Faniska e il suo contesto: questioni aperte p. 15 — Metodologie e obiettivi della ricerca p. 20 Tabella 1: Ricezione ottocentesca della Faniska p. 34 2 – Tra esotismo e identificazione. Il ruolo della tematica polacca in Lodoïska e Faniska di Cherubini — Alle origini di Lodoïska: la funzione delle vicende polacche ne Les p. 36 Amours du chevalier de Faublas — L'immagine della Polonia in Francia dal XVI al XVIII secolo p. 43 — Da Lodoïska a Faniska: un rapporto di (in)diretta filiazione p. 50 — Manifestazione delle tematiche polacche in Lodoïska e Les Mines de p. 56 Pologne/Faniska Tabella 2: Stereotipi polacchi in Lodoïska, Les Mines de Pologne e p. 68 Faniska 3 – «Nach dem Französischen von Sonnleithner». Questioni storico- filologiche per un’edizione critica della Faniska di Luigi Cherubini — Vienna, 1795-1806: dall’istituzione della compagnia tedesca alla p. 76 chiusura della compagnia italiana degli Hoftheater — Commissione e genesi della Faniska: per una lettura dello stato delle p. 86 fonti Tabella 3: Fonti della Faniska per l’edizione critica p. 88 Tabella 4: Struttura della Faniska (versione italiana) p.
    [Show full text]
  • Melodramatic Voices: Understanding Music Drama
    Melodramatic Voices: Understanding Music Drama Edited by Sarah Hibberd MELODRAMATIC VOICES: UNDERSTANDING MUSIC DRAMA ASHGATE INTERDISCIPLINARY STUDIES IN OPERA Series Editor Roberta Montemorra Marvin University of Iowa, USA Advisory Board Linda Hutcheon, University of Toronto, Canada David Levin, University of Chicago, USA Herbert Lindenberger, Emeritus Professor, Stanford University, USA Julian Rushton, Emeritus Professor, University of Leeds, UK The Ashgate Interdisciplinary Studies in Opera series provides a centralized and prominent forum for the presentation of cutting-edge scholarship that draws on numerous disciplinary approaches to a wide range of subjects associated with the creation, performance, and reception of opera (and related genres) in various historical and social contexts. There is great need for a broader approach to scholarship about opera. In recent years, the course of study has developed significantly, going beyond traditional musicological approaches to reflect new perspectives from literary criticism and comparative literature, cultural history, philosophy, art history, theatre history, gender studies, film studies, political science, philology, psycho-analysis, and medicine. The new brands of scholarship have allowed a more comprehensive interrogation of the complex nexus of means of artistic expression operative in opera, one that has meaningfully challenged prevalent historicist and formalist musical approaches. The Ashgate Interdisciplinary Studies in Opera series continues to move this important trend forward by including essay collections and monographs that reflect the ever- increasing interest in opera in non-musical contexts. Books in the series will be linked by their emphasis on the study of a single genre – opera – yet will be distinguished by their individualized and novel approaches by scholars from various disciplines/fields of inquiry.
    [Show full text]
  • The Influences of German/Viennese Singspiel and French Opera
    Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship 2011 The influences of German/Viennese singspiel and rF ench opera comique Rescue Opera on Beethoven's Fidelio Kelly Evelyn Evans Western Washington University Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the Music Commons Recommended Citation Evans, Kelly Evelyn, "The influences of German/Viennese singspiel and rF ench opera comique Rescue Opera on Beethoven's Fidelio" (2011). WWU Graduate School Collection. 125. https://cedar.wwu.edu/wwuet/125 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. The Influences of German/Viennese Singspiel and French Opéra Comique Rescue Opera on Beethoven’s Fidelio By Kelly Evelyn Evans Accepted in Partial Completion Of the Requirements for the Degree Master of Music Moheb A. Ghali, Dean of the Graduate School ADVISORY COMMITTEE Chair, Dr. Bertil H. van Boer, Jr. Dr. Carla Rutschman Dr. Edward Rutschman MASTER’S THESIS In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non‐exclusive royalty‐free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work, and does not infringe or violate any rights of others.
    [Show full text]
  • The Great Composers. No. XIII. Cherubini (Concluded) Author(S): Luigi Cherubini and Joseph Bennett Source: the Musical Times and Singing Class Circular, Vol
    The Great Composers. No. XIII. Cherubini (Concluded) Author(s): Luigi Cherubini and Joseph Bennett Source: The Musical Times and Singing Class Circular, Vol. 25, No. 491 (Jan. 1, 1884), pp. 13-16 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3356898 Accessed: 09-11-2015 19:13 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 142.66.3.42 on Mon, 09 Nov 2015 19:13:30 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JANUARY I, I884. 13 an archoeological point of view; but those who cry bass (tastosolo) with the basses of the orchestra. The out against all additional accompaniments either do choruses are mostly accompanied by strings, oboes not know or do not choose to remember that what and bassoons, to which is added the organ in oratorios they are clamouring for is unattainable. In the and the harpsichord in operas. The oboes usually firstplace, one would require two harpsichords, with double either the violins or the treble voices in unison, two good players, able to fill up Handel's harmonies though we shall find places where they have inde- as the composer did himself,sometimes without even pendent parts giving fuller harmony; the bassoons a figuredbass to guide them.
    [Show full text]
  • Ali Baba Ou Les Quarante Voleurs
    Luigi Cherubini 2010-2011 Dossier pédagogique Département jeune public Ali Baba ou les Quarante Voleurs En deux mots Un jour, Nadir surprend des voleurs en train d’entrer dans une grotte à l’aide d’une formule magique. Après leur départ, il décide de pénétrer Nouvelle production dans leur cachette. Il y Opéra pour enfants découvre alors de somptueux Production de l’Opéra Studio trésors et pense qu’avec ces richesses, il obtiendra enfin Tragédie lyrique d’après Luigi Cherubini la main de Délia, fille d’Ali Livret d'Eugène Scribe et Anne Honoré Joseph Duveyrier (Mélesville) Baba, dont il est éperdument Arrangement et orchestration de Pierre Thilloy amoureux. Mais les quarante voleurs n’ont pas dit leur dernier mot… Direction musicale Vincent Monteil Colmar Théâtre municipal Mise en scène Markus Bothe me 15 décembre 20 h Décors Alexandre Corazzola je 16 décembre 10 h* et 14 h 30* Costumes Sabine Blickenstofer ve 17 décembre 14 h 30* et 20 h Ali Baba Yuriy Tsiple Strasbourg Auditorium Délia Hanne Roos / Émilie Brégeon Cité de la musique Morgiane Eve-Maud Hubeaux et de la danse Nadir John Pumphrey / Mark Van Arsdale lu 3 janvier 10 h* et 14 h 30* Aboul-Hassan Charles Dekeyser ma 4 janvier 10 h* et 14 h 30* Ours-Khan Jean-Gabriel Saint-Martin me 5 janvier 14 h 30 et 20 h Thamar Mickaël Guedj - membre du CNIPAL je 6 janvier 10 h* et 14 h 30* Le crocodile Anne Deroo ve 7 janvier 14 h 30* et 20 h Petits Chanteurs de Strasbourg Mulhouse La Sinne Maîtrise de l’Opéra national du Rhin ve 28 janvier 10 h* et 14 h 30* Direction Philippe Utard sa 29 janvier 20 h di 30 janvier 15 h Ensemble orchestral * Représentations réservées aux groupes scolaires du Conservatoire de Strasbourg Réservations : département jeune public Langue : français surtitré en français et en allemand Durée approximative : 1 h 15 environ Conseillé à partir de 5 ans : maternelle (grande section), élémentaire L’argument Acte I Le jeune Nadir se lamente : étant pauvre, il ne pourra pas épouser la jeune fille qu’il aime, Délia, fille du riche marchand Ali Baba.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 47,1927-1928, Subscription Series
    PR5GR7WVE SMfe rr HERE IT IS!" MODEL 8-35 The NEW ORTHOPHONIC VICTROLA More wonderful— more beautiful — more than words can describe. See and hear it before you select the instrument for your home. Places the complete symphonies of famous masters at your instant command. Convenient Terms SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 B©§t@I o(C? jmpj^oiAy \jic INC. SERGE KOUSSEVITZKY, Conductor FORTY-SEVENTH SEASON. 1927-1928 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1928, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN. Manager G. E. JUDD, Assistant Manager 1909 STEIN WAY the instrument of the immortals Not only the best piano, but the best piano value It IS possible to build a piano to beauty of line and tone, it is the sell at any given price, but it is not greatest piano value ever offered! often possible to build a good . Convenient terms will be piano under such conditions. arranged, if desired. Steinway pianos are not—and There is a Steinway dealer in your com- never have been built to meet a — munity, or near you, through whom you price. They are made as well as may purchase a new Steinway piano with human skill can make them, and a small cash deposit, and the balance will the price is determined later.
    [Show full text]
  • Beethoven, Sherman, Schubert, Cherubini
    Program Notes by Michael Moore Performed October 5, 2005 Drei Equali The Happiest and Unhappiest of Men Psalm 23 Gesang der Geister über den Wassern Requiem IIt’s all about Beethoven. This evening’s concert features music which in some way is related to the great composer. There are two exquisite partsongs by Franz Schubert, who idolized Beethoven and once sent him a set of variations with the inscription “from his Worshipper and Admirer, Franz Schubert.” There is the world premiere of a commissioned piece from Kim D. Sherman with text drawn from Beethoven’s own words. The centerpiece of the concert is Luigi Cherubini’s magnificent Requiem in C minor, a work much admired by Beethoven, who is reported to have said “If I were to write a Requiem, Cherubini’s would be my model.” The Requiem was performed in one of the memorial services following Beethoven’s death in 1827. The program opens with one of Beethoven’s rarely performed Drei Equali for trombones. As the name implies, it is a work written for equal voices, that is, voices with the same timbre and range. In Beethoven’s day, trombones were rarely featured in orchestral music but rather were used for solemn occasions like funeral services. Beethoven wrote these Equali in 1812 at the request of Franz Xaver Glöggl, kapellmeister of the Linz cathedral, and they were first performed there on All Souls’ Day of that year. They were subsequently performed at Beethoven’s own funeral procession in vocal arrangements prepared by Ignaz Seyfried, composer, music director of the Theater an der Wien and close friend of Beethoven.
    [Show full text]