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BICYCLES Are Unequalled in CONNECTION WE HAVE a FIRST-CLASS CYCLE in the City
•y.'/ VW///J-iw <f>-_^^?-"- W^S^^^^^S^^^i-^. A JOURNAL OF CY©L-lk9 LITERATURE TRADE i&gWS. b VOL. V. MILWAUKEE, Wis., APRIL, 1894. >v'if8%'v v NO. 1. YcYevs ©cordis AVc invito iiispi-'ution of our lino. Catalogues fpno al lluniblor Agimdes. GORMULLY & JEFFERY MFG. CO. (..'MICA (JO. BOSTON. WASHINGTON. NKW YfMK. COVKNTUY, KNllLANI). JOHN MEUNIER GUN CO., AGENTS FOR MILWAUKEE, 272 WEST WATER STREET. MENTION THE "PNSUS." THE PNEUMATIC. H. L. KASTEN & CO. STEARNS 517 GRAND AVE. MILWAUKEE E Don't Take A. Our Word s R For It N Come S and See E ..*••' the Wheel H. L. KASTEN & CO. 517 GRAND AVE. M MILWAUKEE STEARNS MENTION THE PNEUS" IN CONNECTION WITH OUR Reitzner - WicKs Gucie Go. =TYPEWRITER=BUSINESS Successors to REITZNER-PRICHARD CYCLE CO. WE HAVE SECURED THE AGENCY FOR THE WELL-KNOWN AND ... MANUFACTURERS OF... MERCURY ....CELEBRATED.... FOWLER FLIERS WHEELS AND AGENTS FOR-, The Celebrated HARRY JAMES CYCLES. A COMPLETE LINE OF THESE MACHINES CAN BE SEEN The CLEVELAND and SMALLEY Wheels. AT OUR STORE 414 Broadway = Milwaukee, LOOK TO YOUR WHEELS WHEELS FITTED WITH MORGAN & WRIGHT, PALMER AND Q..&, J, TIRES. WOOD OR STEEL RIMS, Our Facilities for REPAIRING BICYCLES are Unequalled IN CONNECTION WE HAVE A FIRST-CLASS CYCLE in the City. REPAIR SHOP. 444 National Ave., Milwaukee. Badoer Typewriter * Stationery Go. MENTION THE "PNEUS. MENTION THE "pNEUS.' E. D. HAVEN, Manager. THE PNEUMATIC. -Photographic-Supplies- FOR SALE FOR AMATEURS. A BARGAIN JOHN B. BANGS & 60. 375 MILWAUKEE STREET Brand new ARROW Safety Aoaiomy of Mooio Bulldlnjj, KODAKS REFILLED, Bicycle, same as was sold all last DEVELOPING AND PRINTING. -
La Traviata Stagione D’Opera 2013 / 2014 Giuseppe Verdi La Traviata
G L a i 1 u t r s a e v p i p a e t a V e r d i S t a g i o n e d ’ O p e r a LaGiutsrepapevVeiradi ta 2 0 1 3 / 2 0 1 4 Stagione d’Opera 2013 / 2014 La traviata Melodramma in tre atti Libretto di Francesco Maria Piave Musica di Giuseppe Verdi Nuova produzione Teatro alla Scala EDIZIONI DEL TEATRO ALLA SCALA TEATRO ALLA SCALA PRIMA RAPPRESENTAZIONE Sabato 7 dicembre 2013, ore 18 REPLICHE dicembre Giovedì 12 Ore 20 - Turno D Domenica 15 Ore 20 - Turno B Mercoledì 18 Ore 20 - Turno A Domenica 22 Ore 15 - Turno C Sabato 28 Ore 20 - Turno E Martedì 31 Ore 18 - Fuori abbonamento gennaio Venerdì 3 Ore 20 - Turno N Anteprima dedicata ai Giovani LaScalaUNDER30 Mercoledì 4 dicembre 2013, ore 18 In copertina: La traviata di Giuseppe Verdi. Regia e scene di Dmitri Tcherniakov, costumi di Yelena Zaytseva, luci di Gleb Filshtinsky. Allestimento realizzato per l'inaugurazione della stagione scaligera 2013-14, rendering di una delle scene ideate da Dmitri Tcherniakov. SOMMARIO 5 La traviata. Il libretto 34 Il soggetto Emilio Sala Argument – Synopsis – Die Handlung ––࠶ࡽࡍࡌ Сюжет 46 L’opera in breve Emilio Sala 48 ...la musica Claudio Toscani 53 Splendeurs et misères des courtisanes in terra italina Antonio Rostagno 71 Fisiologia della Traviata Emilio Sala 93 Eros e charitas nella Traviata Paolo Gallarati 131 Un mondo a parte Benedetta Craveri 147 Nota sull’edizione della Traviata Daniele Gatti 149 “Di quell’amor...” (Note di regia) Dmitri Tcherniakov 154 La traviata alla Scala dal 1859 al 2008 Andrea Vitalini 203 Daniele Gatti 205 Dmitri Tcherniakov 206 Gleb Filshtinsky 207 Yelena Zaytseva 208 La traviata. -
Television, Farnsworth and Sarnoff
by AARON SORKIN directed by NICK BOWLING STUDY GUIDE prepared by Maren Robinson, Dramaturg This Study Guide for The Farnsworth Invention was prepared by Maren Robinson and edited by Lara Goetsch for TimeLine Theatre, its patrons and educational outreach. Please request permission to use these materials for any subsequent production. © TimeLine Theatre 2010 — — STUDY GUIDE — Table of Contents The Playwright: Aaron Sorkin .................................................................................... 3 The History: Sorkin’s Artistic License ........................................................................ 3 The People: Philo T. Farnsworth ................................................................................. 4 The People: David Sarnoff ........................................................................................... 6 The People: Other Players ........................................................................................... 8 Television: The Business ........................................................................................... 14 The Radio Corporation of America Patent Pool ................................................ 14 Other Players in Early Radio and Television ................................................... 16 Television: The Science .............................................................................................. 16 Timeline of Selected Events: Television, Farnsworth and Sarnoff .......................... 20 Television by the Numbers ....................................................................................... -
Harry Warner Lighter Elyse
Episode 204 - Story 2: Harry Warner Lighter Elyse: This story could reveal an unusual connection between a famous Hollywood movie producer and the propaganda machine of the Third Reich. Itʼs 1939. Nazi aggression is tearing the world apart. In Germany, anti-Semitic films are being produced on the sound stages of UFA, the once great film studio that's now controlled by Hitler. Some sixty years later, a man in California has an antique lighter engraved with the UFA company logo. What he doesn't understand is why the other side of the lighter bears the name Harry Warner, legendary Hollywood film mogul and immigrant Jew. What could possibly be the connection? The lighter is the proud possession of Robert Galant of Riverside, California. He found it at a flea market and was immediately intrigued. Robert Galant: I noticed that it had "Germany" on it, so I know it's a German lighter. Then I saw the name on there, "UFA;" it's pronounced "oofa." I knew this was during the time when Hitler was taking over UFA, using it for his propaganda machine for the military. On the other side of the lighter it had a name actually engraved on it, and I said, "oh, Harry Warner, maybe of Warner brothers." I started thinking, hey; wait a minute, what is this? Whatʼs the connection here? Elyse: Iʼm Elyse Luray. Iʼve come to Los Angeles, California, the moviemaking capital of the world, to investigate a true Hollywood mystery. Ah, this must be the lighter. Robert Galant: That's it. Elyse: Wow, it's in such good condition. -
New York Festival of Song January 30, 2020 Board of Program Book Contact Directors Credits Us
NEW YORK FESTIVAL OF SONG JANUARY 30, 2020 BOARD OF PROGRAM BOOK CONTACT DIRECTORS CREDITS US James Reel Arizona Friends of Editor President Chamber Music Jay Rosenblatt Post Office Box 40845 Paul Kaestle Tucson, Arizona 85717 Vice-President Contributors Robert Gallerani Phone: 520-577-3769 Joseph Tolliver Holly Gardner Email: [email protected] Program Director Nancy Monsman Website: arizonachambermusic.org Helmut Abt Jay Rosenblatt Recording Secretary James Reel Operations Manager Cathy Anderson Wes Addison Advertising Treasurer Cathy Anderson USHERS Philip Alejo Michael Coretz Nancy Bissell Marvin Goldberg Barry & Susan Austin Kaety Byerley Paul Kaestle Lidia DelPiccolo Laura Cásarez Jay Rosenblatt Susan Fifer Michael Coretz Randy Spalding Marilee Mansfield Dagmar Cushing Allan Tractenberg Elaine Orman Bryan Daum Susan Rock Alan Hershowitz Design Jane Ruggill Tim Kantor Openform Barbara Turton Juan Mejia Diana Warr Jay Rosenblatt Printing Maurice Weinrobe & Trudy Ernst Elaine Rousseau West Press Randy Spalding VOLUNTEERS Paul St. John George Timson Dana Deeds Leslie Tolbert Beth Daum Ivan Ugorich Beth Foster Bob Foster Traudi Nichols Allan Tractenberg Diane Tractenberg 2 FROM THE PRESIDENT Remember when even a lot of people who liked There are ways around that very real problem. You can classical music thought that chamber music was best follow printed translations while you listen, but left to those with a taste for dreary, abstract, over- tonight we’ll make it even easier for you. The theme intellectual, deadly-serious compositions? Thank for this year’s Tucson Desert Song Festival is The goodness we got over that notion. American Voice, and while America has a wonderful diversity of cultures and languages, English is the Today, nobody thinks that about anything but language of the majority of American art songs art song. -
LULU Alban Berg Dyrektor Naczelny Tomasz Bęben
LULU Alban Berg dyrektor naczelny Tomasz Bęben dyrektor generalny Peter Gelb dyrektor muzyczny James Levine prezes Ryszard Rutkowski wiceprezes Jacek Jankowski Marlis Petersen (Lulu) Prapremiera niedokończonej wersji w Operze w Zurychu – 2 czerwca 1937 roku Prapremiera trzyaktowej wersji w Théâtre National de l’Opéra w Paryżu – 24 lutego 1979 roku Premiera w The Metropolitan Opera w Nowym Jorku – 5 listopada 2015 roku Transmisja przedstawienia z The Metropolitan Opera w Nowym Jorku – 21 listopada 2015 roku Przedstawienie trwa około czterech i pół godziny (z dwiema przerwami) Przedstawienie w języku niemieckim z napisami w językach polskim i angielskim Alban Berg Lulu 3. LULU DRAMAT W TRZECH AKTACH Z PROLOGIEM LIBRETTO: KOMPOZYTOR WEDŁUG DRAMATÓW FRANKA WEDEKINDA „DUCH ZIEMI” I „PUSZKA PANDORY” OSOBY Lulu sopran Hrabina Geschwitz mezzosopran Doktor Schön / Kuba Rozpruwacz baryton Alwa tenor Schigolch baryton Malarz / Afrykański Książę tenor Pogromca zwierząt / Atleta bas Książę / Kamerdyner / Markiz tenor Dyrektor teatru / Bankier bas Gimnazjalista / Garderobiana mezzosopran Profesor medycyny / Profesor baryton Kamerdyner bas Komisarz policji bas Piętnastoletnia Dziewczynka sopran Jej Matka mezzosopran Dekoratorka mezzosopran Dziennikarz tenor Służący bas REALIZATORZY reżyseria William Kentridge współpraca reżyserska Luc De Wit projekcje wideo Catherine Meyburgh dekoracje Sabine Theunissen kostiumy Greta Goiris światło Urs Schönebaum OBSADA Lulu Marlis Petersen Hrabina Geschwitz Susan Graham Malarz / Afrykański Książę Paul Groves Doktor Schön / Kuba Rozpruwacz Johan Reuter Alwa Daniel Brenna Schigolch Franz Grundheber Pogromca zwierząt / Atleta Martin Winkler Książę / Kamerdyner / Markiz Alan Oke Dyrektor teatru / Bankier Julian Close Gimnazjalista / Garderobiana Elisabeth DeSchong Profesor medycyny / Profesor / Komisarz policji James Courtney oraz Ashley Emerson, Jane Shaulis, Kathryn Day, Tyler Duncan, Paul Corona orkiestra dyrygent Lothar Koenigs AKCJA ROZGRYWA SIĘ W MIEŚCIE W PÓŁNOCNYCH NIEMCZECH, PARYŻU I LONDYNIE POD KONIEC XIX WIEKU 4. -
7 Avril 2012 (No 2012-14) L'opéra De Montréal Et Sa Saison
7 avril 2012 (No 2012-14) L’Opéra de Montréal et sa saison 2012-2013 : le retour de Richard Wagner et une première québécoise de Dead Man Walking La direction de l’Opéra de Montréal a présenté le 4 avril 2012 les cinq opéras qui seront à l’affiche durant la 33e saison compagnie lyrique montréalaise. Cette saison sera marquée par la première québécoise de l’opéra Dead Man Walking du compositeur américain Jake Heggie. Pour commémorer le bicentenaire de la naissance de Richard Wagner, l’Opéra de Montréal présentera Le Vaisseau fantôme (Der Fliegende Holländer) et proposera un retour du maître de Bayreuth dont la musique n’a pas été entendue à l’Opéra de Montréal depuis la version concert de L’or du Rhin (Das Rheingold) en 2000. Comme cela avait été promis, La Chauve-souris (Die Fledermaus) de Johann Strauss fils sera présentée durant la prochaine saison et le metteur en scène Oriol Thomas a choisi de transporter l’action dans le Montréal des années 1930. La saison s’ouvrira et se terminera avec deux productions de l’Opéra de Montréal : La Traviata de Giuseppe Verdi dans une distribution européenne et sera clôturée par Manon de Jules Massenet dont le rôle-titre sera interprété par Marianne Fiset qui s’est distinguée à l’Opéra national de Paris dans ce même rôle il y a quelques semaines. L’Atelier lyrique de l’Opéra de Montréal produira quant à lui deux opéras en un acte de Giancarlo Menotti : The Old Maid and the Thief (La vieille dame et le voleur) et Amahl and the Night Visitors (Amahl et les visiteurs du soir). -
Houston Grand Opera the Passenger Opera in Two Acts
July 7 –August 16, 2014 Lincoln Center Festival is sponsored by American Express July 10 –13 Park Avenue Armory Houston Grand Opera The Passenger Opera in two acts Music Mieczyslaw Weinberg Libretto by Alexander Medvedev English Translation David Pountney Based on the novel by Zofia Posmysz Conductor Patrick Summers Lighting Designer Fabrice Kebour Director David Pountney Sound Designer Mark Grey Associate Director Rob Kearley Fight Director Leraldo Anzaldúa Set Designer Johan Engels Movement Director Courtney D. Jones Costume Designer Marie-Jeanne Lecca Chorus Master Richard Bado Approximate performance time: 3 hours, including 1 intermission Co-presented by Lincoln Center Festival and Park Avenue Armory The Lincoln Center Festival 2014 presentation of The Passenger is made possible in part by generous support from the Polska Music Program of the Adam Mickiewicz Institute, Robert and Helen Appel, the LuEsther T. Mertz Charitable Trust, Larry A. and Klara Silverstein, Judy and Michael Steinhardt, Nancy & Morris W. Offit, and one anonymous donor. Additional support provided by the National Endowment for the Arts. Major support for Lincoln Center Festival 2014 is provided by The Andrew W. Mellon Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Lincoln Center Festival 2014 is made possible in part with public funds from the New York City Department of Cultural Affairs and New York State Council on the Arts. The Passenger is a co-production of Bregenzer Festspiele, Teatr Wielki, English National Opera, and Teatro Real. Houston Grand Opera’s performances of The Passenger in New York are generously underwritten by Bill and Sara Morgan, and Amanda and Morris Gelb. -
Waging Warners'
Waging Warners’ War by Randi Hokett The connection between Hollywood and American politics has Producing an anti-Nazi film in 1934 was easier said than done, and become an increasingly pertinent area of inquiry in our post 9/11 cul- no studio would release an anti-Nazi film untilConfessions of a Nazi ture. Viewed through the lens of history, it is clear that the marriage Spy (1930) by Warner Bros. Complex issues conspired against the between the media, its moguls and the American political system Warners’ plans to create a film naming the Nazi threat. As Hitler has long affected public life in this country and around the world. gained power, the distribution of such a film in Europe grew increas- Nowhere is this more apparent than at Warner Bros. during World ingly difficult. At home, isolationist sentiment and anti-Semitism, War II, where a personal crusade against fascism ultimately became an together with industry concern that an anti-Nazi film could damage important part of American public policy. relations with the still important German film market, resulted in a 1934 Production Code Administration (PCA) ban on anti-Nazi films. Hollywood, like much of the United States, did not appear to oppose Nazism in the 1930s. Despite the fact that Hollywood’s film empire Unable to explicitly fight fascism through feature films, Jack and had been built largely by Jews, there was little overt acknowledgement Harry monitored the spread of Nazism throughout Europe and of the atrocities committed against Jews in Germany. The exception America. They were active with the Hollywood Anti-Nazi League, was Warner Bros. -
MATTHEW, SIDNEY L. Bobby Jones Collection and Research Files, 1862-2015
MATTHEW, SIDNEY L. Bobby Jones collection and research files, 1862-2015 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Collection Stored Off-Site All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval. Descriptive Summary Creator: Matthew, Sidney L. Title: Bobby Jones collection and research files, 1862-2015 Call Number: Manuscript Collection No. 1250 Extent: 134 linear feet (194 boxes), 1 oversized papers folder (OP), AV Masters: 8.75 linear feet (10 boxes), and 701 MB born digital material (413 files) Abstract: Collection of materials relating to Georgia golfer Bobby Jones, including photographs, newspapers, magazines, scrapbooks, correspondence, memorabilia, and audiovisual and born digital material. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Due to preservation concerns, Boxes 191-194 scrapbooks are restricted. Special restrictions apply: For preservation reasons, researchers are encouraged to use the digital collection rather than the original images. Use copies have not been made for all of the audiovisual material at this time. Researchers must contact the Rose Library at least two weeks in advance for access to audiovisual material in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the Rose Library's ability to provide access to audiovisual material. Access to processed born digital materials is only available in the Stuart A. Rose Manuscript, Archives, and Rare Book Library (the Rose Library). Use of the original digital media is restricted. -
School Blaze $2.5 Million Loss Raymi Bmok Preoeptory Will La a Senior, Majoring in Sodolo- the Assembly Which Will, Among Meet Friday at 8 Pjn
Oibhona Assembly, Ladies of Odumbua and Combined cath' About Town olic Mothers Ctrcles wtil spon sor a oonununion breakfast Xcmben at Ui« MuichMtar Sunday at St. James’ School Btin plcu^ a t waar Hod and Oun Club will meet to- Hell for Catholic Ctrl Scouts la your skoas whea ; n l^ t at the John F. Tlemey and Brownies, after the 9 a.m. A moMl* intt •qu%>p«d wMi Area Rotarians have then reboUt Is Funwml Home, 219 W. Center Mass at St. James' Church. toblea for ammlnatlona andaOl profassloaAl shM n m It Manehmter 4’CUy of ViBago Cham • t , to |wy reapecU to Mrs. Ihoae not yet oontacted and in nicawary latoccotety 9qu4p- Meet in April sboB. ALL WORK John ICcOtxM, whose aon, terested in attending may call OUARANTBBD! Jamea McCooe, ia a member. Mrs. Frank Faarina, 158 Birch mant to give PAP teeta wiU ar VOL. LXXXm, NO. 182 (TWENTY-FOUR PAGES—TWO SECTIONS) MANCRESTER, CONN., THURSDAY, MARCH 5, 1964 AthrarOslag am Pago M) rive ai Maftohaatar Memorial The annual Spring Conference PRICE SEVEN CENTS St, chairman, or Miss Helen A. of Rotary Dlatriot 789. of which Kembera of the Town Fire Thomas, 25 Cooper S t Hoapitai Wadneaday, March 11. SAM YULYES Oepartment will meet tonicht TYm unit la ownad by the Oon- Manchester Rotary Club ia a Same SMa aa WatMaa at T at the John F. Tierney Fu neeticut Diviaion of the Amer- member, will be held at the Ho 29 OAK STBBliT neral Home, 219 W. Center St, Joseph J. Twaronite? son of loan Oanoar Society In New tel SUOer-HIKon, Hartford, OPEN aiONDATM to pay req>ect8 to Mrs. -
FY17 Annual Report View Report
Annual Report 2016–17 1 2 4 Introduction 6 Metropolitan Opera Board of Directors 7 Season Repertory and Events 14 Artist Roster 16 The Financial Results 48 Our Patrons 3 Introduction In the 2016–17 season, the Metropolitan Opera continued to present outstanding grand opera, featuring the world’s finest artists, while maintaining balanced financial results—the third year running in which the company’s finances were balanced or very nearly so. The season opened with the premiere of a new production of Wagner’s Tristan und Isolde and also included five other new stagings, as well as 20 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 11th year, with ten broadcasts reaching approximately 2.3 million people. Combined earned revenue for the Met (Live in HD and box office) totaled $111 million. Total paid attendance for the season in the opera house was 75%. All six new productions in the 2016–17 season were the work of distinguished directors who had previous success at the Met. The compelling Opening Night new production of Tristan und Isolde was directed by Mariusz Treliński, who made his Met debut in 2015 with the double bill of Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle. French-Lebanese director Pierre Audi brought his distinctive vision to Rossini’s final operatic masterpiece Guillaume Tell, following his earlier staging of Verdi’s Attila in 2010. Robert Carsen, who first worked at the Met in 1997 on his popular production of Tchaikovsky’s Eugene Onegin, directed a riveting new Der Rosenkavalier, the company’s first new staging of Strauss’s grand comedy since 1969.