DOCSLIB.ORG

2014 –15 Lectures and Community Engagement

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2014 –15 Lectures and Community Engagement 2014 –15 Lectures and Community Engagement About the Metropolitan Opera Guild The Metropolitan Opera Guild serves the opera-loving community through arts and music education, special events, custom travel packages, the publication of Opera News magazine, and other programs in support of education and audience cultivation for this beloved art form. Arts education is crucial to every child’s development and provides lifelong engagement, yet many schools lack the resources to provide sufficient instruction. The Metropolitan Opera Guild works to fill this gap by providing high-quality arts education that uses opera in connection with existing school curriculum. These programs are supported by the generosity of government agencies, private foundations, and individuals. For more information on these opera-based educational programs for schools, please call 212.769.7023. More information on the Guild and its activities can be found online at metguild.org. Information and archives of Opera News can be found online at operanews.com. How to Use This Booklet This brochure presents the 2014–15 season of Lectures and Community Programs grouped into thematic sections, including programs that emphasize specific Met performances and productions, courses on opera and the art form’s history and culture, and editorial insights and interviews presented by our colleagues at Opera News. Our courses of study are arranged chronologically and learners of all levels are welcome. To place an order, please call the Guild’s ticketing line at 212.769.7028 (Mon–Fri 10:0 0 aM – 4 : 0 0 pM ). COVER: Eli¯na GaRanCˇ a in CArmen PhOtO: KEn HowaRd / MEtropolitan opera 2 2014 –15 Lectures and Community Engagement Welcome At the MetropolitAn operA Guild, we believe that the beauty of opera goes well beyond the stage. Since 1935, the Guild has been committed to presenting programs aimed at engaging our community’s passion for the lyric arts both inside and outside of the opera house. Our educational and community programs reach more than 500,000 young people and adults annually, helping to foster a love of opera and a lifetime involvement with the musical arts. With pre-performance lectures, artist interviews, seminars, and more, we provide relevant, engaging, and enriching experiences to a community of all ages. We are proud to present yet another season of opportunities to immerse yourself in this exciting art form. Come explore the world of opera—on stage and behind the scenes—through our education programs. Whether your enthusiasm for opera is lifelong or newly formed, I am certain that you will find our programs enjoyable and enlightening. We are thrilled to have you join us for another unforgettable journey into all that opera has to offer. Sincerely, Richard J. Miller, Jr. president Table of Contents 4 Presenters, Panelists, Artists, and Staff 5 Summer HD Festival Pre-Screening Talks 6 Insights on the 2014–15 Metropolitan Opera Season The met: Live in HD Mettalks: new Production Panel discussions Opera Outlooks: Pre-Performance lectures 12 Opera News Presents The Singers’ Studio: Casual Conversations 14 Masterly Singing: Master Classes and Workshops 16 Musical Chairs: Conversations on a Life in Music 18 Score-Desk Tickets 19 Backstage Tours 22 Guild Membership and Ordering Information 24 Courses of Study Opera Boot Camp: Fall and Spring Saturday Morning Score Readers: Crash Courses Verdi Baritones a Guide to 20th-Century Opera listening the Evolution of French Vocal writing Prima donnas: the Great women of Opera inside look: interviews with Metropolitan Opera artisans and Staff 35 Biographies of Lecturers, Presenters, and Teachers 39 Calendar of Events 44 Metropolitan Opera Guild Board of Directors 45 Map of Event Locations Presenters, Panelists, Artists, and Staff Stuart Holt Paul Gruber John J. H. Muller Director of School Programs & Executive Director, Program Professor of Music History and Community Engagement Development Graduate Studies thE MEtropolitan Opera Guild thE MEtropolitan Opera Guild thE JuilliaRd SChool Thomas Allen Louise T. Guinther Steven Osgood Baritone Senior Editor Conductor Opera NewS Naomi Barrettara Harlow Robinson, Ph.D. Program Development Consultant Nimet Habachy Matthews Distinguished thE MEtropolitan Opera Guild Lecturer, Writer, and Broadcaster University Professor NorthEaStern university William Berger Kyle Homewood Author, Radio Host, and Community Engagement Fellow W. Anthony Sheppard, Commentator thE MEtropolitan Opera Guild Ph.D. Professor and Chair, Music James Conlon Simon Keenlyside williams COllege Conductor Baritone Music Director Ira Siff Los angeles Opera Jeffrey Langford, Ph.D. Director, Vocal Coach, and Music Director Broadcaster Professor and Chair, Music thE RaVinia FestiVal History Assistant Dean of Doctoral Diana Soviero Elspeth Davis Students Soprano Community Engagement Manhattan SChool of MuSiC Coordinator Rebecca Sullivan thE MEtropolitan Opera Guild Jay Lesenger Community Engagement Assistant Director thE MEtropolitan Opera Guild Plácido Domingo General/Artistic Director Chautauqua Opera Tenor Lacey Upton Community Engagement Manager F. Paul Driscoll Željko Lučić thE MEtropolitan Opera Guild Editor-in-Chief Baritone Opera NewS Dona D. Vaughn Jane Marsh Stage Director Jane Eaglen Soprano Artistic Director of Opera Soprano Artistic and Program Consultant Programs thE MEtropolitan Opera Guild Manhattan SChool of MuSiC Lauren Flanigan Artistic Director PORTopera Soprano Desirée Mays Author and Lecturer Adam Wasserman Peter Gelb Online Editor General Manager Angela Meade Opera NewS thE MEtropolitan Opera Soprano Denyce Graves Mezzo-soprano 4 Summer HD Festival Pre-Screening Talks This series presents ten lectures on ten consecutive days, coinciding with the Met’s Summer HD Festival, which offers free open-air screenings of Live in HD productions on Lincoln Center Plaza. all pre-screening talks are held at the Opera learning Center, on the 6th floor of the Samuel B. and david Rose Building on 65th Street between Broadway and amsterdam avenue, from 5:30 to 6:30PM. tickets are $12 including a reserved seat to the evening’s HD screening. in case of changes to the schedule or inclement weather, lecture dates will follow Met screening dates. For up-to-date information, visit metguild.org. if a screening is canceled due to weather conditions, tickets will be refunded. Puccini verdi MaSSenet La Bohème Falstaff Werther SaT auG 23 8pM Wed auG 27 8pM Sun auG 31 8pM Ranzani; Opolais, Levine; Oropesa, Altinoglu; Oropesa, Phillips, Grigolo, Meade, Blythe, Koch, Kaufmann, Cavalletti, Carfizzi, Johnson Cano, Fanale, Bižić, Summers Gradus, Maxwell Maestri, Vassallo 2 hOuR 15 Minutes approx. 2 hOurs approx. 2 hOurs approx. tchaikovSky Borodin dvorˇ Ák Eugene Onegin Prince Igor Rusalka Mon Sep 1 7:45pM Sun auG 24 7:15pM Thu auG 28 7:45pM Gergiev; Netrebko, Noseda; Dyka, Nézet-Séguin; Volkova, Beczala, Rachvelishvili, Fleming, Magee, Kwiecien, Tanovitski Semishkur, Abdrazakov, Zajick, Beczala, Relyea 2 hOuR 40 Minutes approx. Petrenko, Kocán 2 hOurs 40 Minutes approx. 3 hOurs 10 Minutes approx. donizetti ShoStakovich L’Elisir d’Amore The Nose Fri auG 29 8pM Mon auG 25 8pM Benini; Netrebko, Smelkov; Popov, Polenzani, Kwiecien, Lewis, Szot Maestri 2 hOurs approx. 2 hOurs approx. verdi donizetti Simon Boccanegra Don Pasquale Tue auG 26 8pM SaT auG 30 8pM Levine; Pieczonka, Levine; Netrebko, Giordani, Domingo, Polenzani, Kwiecien, Morris Del Carlo 2 hOurs 20 Minutes approx. 2 hOurs 10 Minutes approx. 5 The Met: Live in HD 2014–15 Season The Met’s Peabody and Emmy Award-winning series of live performance transmissions to movie theaters around the world continues for its ninth season, featuring ten live broadcasts. Live in HD productions are seen on 2,000 screens in 67 countries. Don’t miss the chance to experience the Met live at your local movie theater! For more information, visit metopera.org/HDlive. verdi LehÁr Macbeth The Merry Widow Saturday, October 11, 2014 Saturday, January 17, 2015 12:55 pM Eastern Time 12:55 pM Eastern Time Mozart offenBach Le Nozze di Figaro Les Contes d’Hoffmann Saturday, October 18, 2014 Saturday, January 31, 2015 12:55 pM Eastern Time 12:55 pM Eastern Time Bizet tchaikovSky Carmen Iolanta Saturday, November 1, 2014 Bartók 12:55 pM Eastern Time Bluebeard’s Castle Saturday, February 14, 2015 rossini 12:30 pM Eastern Time Il Barbiere di Siviglia Saturday, November 22, 2014 rossini 12:55 pM Eastern Time La Donna del Lago Saturday, March 14, 2015 Wagner 12:55 pM Eastern Time Die Meistersinger von Nürnberg Saturday, December 13, 2014 MaScagni 12 pM Eastern Time Cavalleria Rusticana LeoncavaLLo Pagliacci Saturday, April 25, 2015 12:30 pM Eastern Time The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Global corporate sponsorship of The Met: Live in HD is provided by Bloomberg. The HD Broadcasts are supported by Toll Brothers, America’s luxury home builder.™ 6 MetTalks New Productions of the 2014–15 Season Directors and stars of the Met’s 2014–15 new productions discuss the challenges and rewards of bringing their visions to the stage. All events are held at the Metropolitan Opera House, unless otherwise noted. $25 general public / $20 Met Subscribers / $15 Guild Members and students (discounts available for advance sale only.) Mozart’s Le Nozze di Figaro Tue Sep 16 7PM Lehár’s Merry Widow Wed dec 10 5:30PM the following Mettalks will be held at the Bruno walter auditorium and are available to members of the Metropolitan Opera Patron Program only. Please call 212.870.4502 to reserve your tickets. Adams’s The Death of Klinghoffer (Met Premiere) WED OCT 15 6PM Bruno Walter auditoriuM Tchaikovsky’s Iolanta (Met Premiere) & Bartók’s Bluebeard’s Castle WED JAN 21 6PM Bruno Walter auditoriuM Rossini’s La Donna del Lago (Met Premiere) Wed Feb 11 6PM Bruno Walter auditoriuM Mascagni’s Cavalleria Rusticana & Leoncavallo’s Pagliacci WED APR 8 6PM Bruno Walter auditoriuM 7 Opera Outlooks Pre-Performance Talks Take a closer look at these operas in the Met’s 2014–15 season.
Load more

Recommended publications
  • Lectures and Community Engagement 2017­–18 About the Metropolitan Opera Guild
    Lectures and Community Engagement 2017 –18 About the Metropolitan Opera Guild The Metropolitan Opera Guild is the world’s premier arts educa- tion organization dedicated to enriching people’s lives through the magic and artistry of opera. Thanks to the support of individuals, government agencies, foundations, and corporate sponsors, the Guild brings opera to life both on and off the stage through its educational programs. For students, the Guild fosters personal expression, collaboration, literacy skills, and self-confidence with customized education programs integrated into the curricula of their schools. For adults, the Guild enhances the opera-going experience through intensive workshops, pre-performance talks, and community outreach programs. In addition to educational activities, the Guild publishes Opera News, the world’s leading opera magazine. With Opera News, the Guild reaches a global audience with the most insightful and up-to-date writing on opera available anywhere, helping to maintain opera as a thriving, contemporary art form. For more information about the Metropolitan Opera Guild and its programs, visit metguild.org. Additional information and archives of Opera News can be found online at operanews.com. How to Use This Booklet This brochure presents the 2017–18 season of Lectures and Community Programs grouped into thematic sections—programs that emphasize specific Met performances and productions; courses on opera and its history and culture; and editorial insights and interviews presented by our colleagues at Opera News. Courses of study are arranged chronologically, and learners of all levels are welcome. To place an order, please call the Guild’s ticketing line at 212.769.7028 (Mon–Fri 10AM–4PM).
    [Show full text]
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • Voice Types in Opera
    Voice Types in Opera In many of Central City Opera’s educational programs, we spend some time explaining the different voice types – and therefore character types – in opera. Usually in opera, a voice type (soprano, mezzo soprano, tenor, baritone, or bass) has as much to do with the SOUND as with the CHARACTER that the singer portrays. Composers will assign different voice types to characters so that there is a wide variety of vocal colors onstage to give the audience more information about the characters in the story. SOPRANO: “Sopranos get to be the heroine or the princess or the opera star.” – Eureka Street* “Sopranos always get to play the smart, sophisticated, sweet and supreme characters!” – The Great Opera Mix-up* A soprano is a woman’s voice type. There are many different kinds of sopranos within the general category: coloratura, lyric, and spinto are a few. Coloratura soprano: Diana Damrau as The Queen of the Night in The Magic Flute (Mozart): https://youtu.be/dpVV9jShEzU Lyric soprano: Mirella Freni as Mimi in La bohème (Puccini): https://youtu.be/yTagFD_pkNo Spinto soprano: Leontyne Price as Aida in Aida (Verdi): https://youtu.be/IaV6sqFUTQ4?t=1m10s MEZZO SOPRANO: “There are also mezzos with a lower, more exciting woman’s voice…We get to be magical or mythical characters and sometimes… we get to be boys.” – Eureka Street “Mezzos play magnificent, magical, mysterious, and miffed characters.” – The Great Opera Mix-up A mezzo soprano is a woman’s voice type. Just like with sopranos, there are different kinds of mezzo sopranos: coloratura, lyric, and dramatic.
    [Show full text]
  • ERNANI Web.Pdf
    Foto: Metropolitan opera G. Verdi ERNANI Subota, 25. veljae 2012., 19 sati THE MET: LIVE IN HD SERIES IS MADE POSSIBLE BY A GENEROUS GRANT FROM ITS FOUNDING SPONZOR Neubauer Family Foundation GLOBAL CORPORATE SPONSORSHIP OF THE MET LIVE IN HD IS PROVIDED BY THE HD BRODCASTS ARE SUPPORTED BY Giuseppe Verdi ERNANI Opera u etiri ina Libreto: Francesco Maria Piave prema drami Hernani Victora Hugoa SUBOTA, 25. VELJAČE 2012. POČETAK U 19 SATI. Praizvedba: Teatro La Fenice u Veneciji, 9. ožujka 1844. Prva hrvatska izvedba: Narodno zemaljsko kazalište, Zagreb, 18. studenoga 1871. Prva izvedba u Metropolitanu: 28. siječnja 1903. Premijera ove izvedbe: 18. studenoga 1983. ERNANI Marcello Giordani JAGO Jeremy Galyon DON CARLO, BUDUĆI CARLO V. Zbor i orkestar Metropolitana Dmitrij Hvorostovsky ZBOROVOĐA Donald Palumbo DON RUY GOMEZ DE SILVA DIRIGENT Marco Armiliato Ferruccio Furlanetto REDATELJ I SCENOGRAF ELVIRA Angela Meade Pier Luigi Samaritani GIOVANNA Mary Ann McCormick KOSTIMOGRAF Peter J. Hall DON RICCARDO OBLIKOVATELJ RASVJETE Gil Wechsler Adam Laurence Herskowitz SCENSKA POSTAVA Peter McClintock Foto: Metropolitan opera Metropolitan Foto: Radnja se događa u Španjolskoj 1519. godine. Stanka nakon prvoga i drugoga čina. Svršetak oko 22 sata i 50 minuta. Tekst: talijanski. Titlovi: engleski. Foto: Metropolitan opera Metropolitan Foto: PRVI IN - IL BANDITO (“Mercè, diletti amici… Come rugiada al ODMETNIK cespite… Oh tu che l’ alma adora”). Otac Don Carlosa, u operi Don Carla, Druga slika dogaa se u Elvirinim odajama u budueg Carla V., Filip Lijepi, dao je Silvinu dvorcu. Užasnuta moguim brakom smaknuti vojvodu od Segovije, oduzevši sa Silvom, Elvira eka voljenog Ernanija da mu imovinu i prognavši obitelj.
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • Program Notes by MARTIN BOOKSPAN
    LIVE FROM LINCOLN CENTER March 24, 1999 8-10 PM New York City Opera: Lizzie Borden Program Notes by MARTIN BOOKSPAN "Lizzie Borden"- Music by Jack Beeson; libretto by Kenward Elmslie; based on a scenario by Richard Plant. World premiere given at New York City Opera, March 25, 1965. "Lizzie Borden took an ax, and gave her father forty whacks." This childhood rhyme may have passed from currency in the waning years of the twentieth century, but the event it memorialized was very much alive in the waning years of the nineteenth. Along with the likes of Paul Bunyan and Johnny Appleseed, Lizzie Borden of Fall River, Massachusetts, assumed legendary status in the American popular imagination. In some respects the situation seems to be a remarkable parallel to one with which we are all familiar, the O.J. Simpson affair. These are the facts: on August 4, 1892, the citizens of Fall River were shaken by the brutal murder of two of its most solid citizens, Andrew Borden and his wife, Abbie Gray Borden. The finger of suspicion soon pointed to Andrew Borden's thirty-three-year-old daughter, Elizabeth, known as Lizzie, an apparently demure and reserved gentlewoman. She testified at an inquest, but thereafter refused comment, even declining to testify in her own defense at the trial that ensued. The evidence arrayed against her seemed confused and even conflicting, and many in the community could not bring themselves to believe that she was guilty. Weak testimony in her favor was offered by her sister, Emma; in the final summation, these were the words of her chief defense attorney: "To find her guilty, you must believe she is a fiend.
    [Show full text]
  • Strauss Elektra Solti SC
    Richard Strauss Elektra Elektra: Birgit Nilsson; Klytemnestra: Regina Resnik; Chrysothemis: Marie Collier; Oreste: Tom Krause; Aegistheus: Gerhard Stolze Vienna State Opera Chorus and Vienna Philharmonic Orchestra Georg Solti Recorded June, September and November 1966 at the Sofiensaal, Vienna Recording Engineers: Gordon Parry and James Brown Producers: John Culshaw and Christopher Raeburn Remastered at Air Studios London by Tony Hawkins and Ray Staff Speakers Corner 2LPs Decca SET 354/5 Performance: 5 Strauss's Elektra was premièred in 1909 and marks the highpoint of the composers operatic career. Never again would he compose such searingly dramatic, concise music, replete with startlingly vivid orchestration, and a wealth of highly chromatic (and often atonal) thematic material, centred around decidedly Wagnerian sounding leitmotifs. It is isn't easy to cast. The title role needs a true dramatic soprano who is happy above the stave, and that of Klytemnestra a big-voiced mezzo- soprano. Chrysothemis is written for a lyric soprano, and Oreste for an heroic baritone. Elektra's don't come any better than Birgit Nilsson. She was 48 when the recording was made, and even the most exposed leaps and murderously high tessitura don't bother her. As the greatest Wagnerian soprano since Frieda Leider, she can effortlessly ride the orchestra, while still using a wide dynamic range in quieter passages. There are occasions when her intonation falters in the Recognition Scene, but this is a classic, thrillingly savage performance. Regina Resnik scales the same dramatic heights as Nilsson in her confrontation with Elektra, and her laughter at the end of the scene is gloriously OTT.
    [Show full text]
  • Web Site Leads to GOP Complaint
    Johnny Appleseed Linden students celebrated the American legend of Johnny Appleseed last week. Serving Linden, Roselle, Rahway and Elizabeth Page 3 LINDEN, N.J WWW.LOCALSOURCE.COM 75 CENTS VOL. 89 NO. 39 THURSDAY OCTOBER 5, 2006 Web site leads to GOP complaint By Kitty Wilder paid a total of $9 for two domain Kennedy said he was not aware ofthe site, Enforcement Commission said it is Managing Editor CAMPAIGN UPDATE names. The second domain name was adding, “It’s nothing I’m supporting.” not the commission’s policy to con­ RAHWAY — Local Republicans used to create a second Rahway He said Devine is not a consultant firm or deny complaints filed. have filed a complaint with the state Republicans for Kennedy Web site at for his campaign, but he is paid for Web sites have become common in alleging a Democratic campaign Lund. It did not contain a disclaimer. www.timeforchange2006.net. printing services. campaigning and are treated like other worker created a Web site intended to The site, which did not include a The address is similar to another Devine said he is a consultant for campaign literature, Davis said. They misrepresent their party. disclaimer, contained a similar address Bodine for Mayor address, www.time- Kennedy, adding, “I advise the Demo­ are required to include a disclaimer The complaint, filed Friday with to the homepage for the campaign rep­ forchange2006.com. cratic Party on strategic and tactical clarifying who paid for the site. the state Election Law Enforcement resenting the council candidates and Cassio said the similarity between measures to promote their candidates The commission follows a standard Commission, alleges the group Rah­ mayoral candidate Larry Bodine.
    [Show full text]
  • First Glimpse 2018: Songs from the Great Room
    presents First Glimpse 2018: Songs from the Great Room World Premiere Songs rom e 17-19 omosers e oie series Composers & the Voice Artistic Director - Steven Osgood Musical Direction by Mila Henry & Kelly Horsted 2017-19 Composers & the Voice Composer and Librettist Fellows Laura Barati Pamela Stein Lynde Sokunthary Svay Matthew Browne Scott Ordway Amber Vistein Kimberly Davies Frances Pollock Alex Weiser 2017-18 Composers & the Voice Resident Singers Tookah Sapper, soprano Jennifer Goode Cooper, soprano Blythe Gaissert, mezzo-soprano* Blake Friedman, tenor Mario Diaz Moresco, baritone Adrian Rosas, bass-baritone *Songs written for mezzo-soprano will be performed tonight by Kate Maroney Resident Stage Manager - W. Wilson Jones May 19 & 20, 2018 - 7:30 PM SOUTH OXFORD SPACE, BROOKLYN FROM THE ARTISTIC DIRECTOR I always have mixed emotions when a cycle of Composers and the Voice arrives at the First Glimpse concerts. It is thrilling to FINALLY throw open the doors of this room and share some of the wonderful pieces that have been written since last Fall. But it also means that my time working so regularly and directly with a family of artists is drawing to a close. It takes a huge team of people to make a program like Composers and the Voice work, but I would like to thank two who have stepped into new and significantly larger roles this year. Mila Henry, C&V Head of Music, has overseen the musical organization of the entire season, while also preparing several pieces for each of our workshop sessions. Matt Gray, as C&V Head of Drama, has brought his insight into character and operatic narrative into every element of the program.
    [Show full text]
  • Newsletter • Bulletin Summer 2002 Été
    NATIONAL CAPITAL OPERA SOCIETY • SOCIÉTÉ D'OPÉRA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2002 Été P.O. Box 8347, Main Terminal, Ottawa, Ontario K1G 3H8 • C.P. 8347, Succursale principale, Ottawa (Ontario) K1G 3H8 A new Canadian star!!! by Renate Chartrand Opernglas’ featured a six-page interview with her on the occasion of her Covent Garden debut as Donna Anna with Bryn Terfel as Don Giovanni. (Perhaps while I am writing this, ‘Opera Canada’ is doing the same?) For several years she was based in Vienna, singing lead roles at the State Opera. Elsewhere in Europe she has had great success as Elsa, Arabella, Tatiana, Desdemona and Alice Ford in Munich, Paris, Glyndebourne and Milan. Four years ago in Hamburg she had already caught my at- tention as a great Ellen Orford in Peter Grimes. As is the custom in Europe we joined the fans wait- ing for her at the stage door and asked her whether she is thinking of doing Tosca. Yes, next year in San Francisco. This year she will sing her first Elisabetta (Don Carlo) in Salzburg, Ariadne in Barcelona and her Met debut as Lisa (Pique Dame) is planned for 2004. For us Ottawans of greatest interest will be her first Sieglinde in Toronto’s (continued on page 3) Adrianne Pieczonka Kat’a Kabanova During my trip to Germany in April I had the pleasure of witnessingBrian a Canadian star being born. Soprano Adrianne Pieczonka made the front page of the ‘Hamburger Abendblatt’Law with the comment “A star was born” follow- ing the opening night of Kat’a Kabanova by Janacek at the Hamburg State Opera.
    [Show full text]
  • Give Me Excess of Hampson
    Play On: Give Me Excess of Hampson By Janos Gereben—October 2, 2008 Humans, in general, mellow with age. Thomas Hampson doesn't. Au contraire, he is more intense, dramatic, overwhelming, multitasking, brilliant than ever. Beyond the simple excellence of his other master classes, such as the one in Wigmore or in the old S.F. Conservatory of Music, his six hours over Thursday and tonight went beyond all expectations. Here he was, in the new Conservatory building, at the first "LIEDER ALIVE!" master workshop, singing duets of traditionally "single-voice" lieder, massaging skulls (his own and those of others), discussing music, literature, psychology, anatomy, the transporter beaming process in "Star Trek" (more about that later), and other subjects too numerous to list. The two evenings were reminiscent of what was going on in the nearby War Memorial: the amaZing excess, surfeit, daZZle of "Die Tote Stadt." Another similarity: above all, both events are about music, other factors - however numerous - be damned. And yet, sometimes it was difficult to remember that main theme, watching Katherine Tier surrounded by Hampson phantoms - one pressing in on the meZZo's cheekbones, the other singing "Kindertotenlieder" with her, the third in throes of the grief and resolution she should convey, and the fourth thundering an interpretation of the text speaking of the eyes of dead children becoming stars of future nights: "It happens. Your children will not stay with you. And guess what: you will die too. It's OK." And suddenly, instead of crumbling under that manifold "attack," Tier sang "Nun seh'ich, wohl, warum so dunkle Flammen" beautifully, with an understanding of its subtle catharsis, rather than sentimentally.
    [Show full text]
  • Connection/Separation
    Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Megan P. G. Kolpin, Props Coordinator DIRECTOR’S NOTE In each of our lives—during this last year especially—we may have discovered ourselves in moments of wanting, even needing some sort of human connection, but instead finding separation by any number of barriers. In the arias and scenes that follow, we witness characters in just this kind of moment; searching for meaningful contact yet being somehow barred from achieving it. Through circumstance, distance, convention, misunderstanding, pride, fear, ego, or what have you, we may find ourselves in situations similar to the characters in this program, while looking forward to the days when connection can be more easily achieved and separation the exception to the rule.
    [Show full text]