Programme Notes Olivia Sham
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Dorset-Opera-News-Christmas-2008
News Issue No: 7 Christmas 2008 Audience numbers And for 2009 it’s… Artistic Director, Roderick Kennedy, has chosen two unashamedly double in 2 years! popular works for Dorset Opera’s 2009 presentation: the most famous twins in all opera, Mascagni’s Cavalleria rusticana and Leoncavallo’s I pagliacci. Dorset Opera audience numbers have officially doubled over the last two years! Leonardo Capalbo as Nadir We might only operate on a small scale, but in a sparsely populated county like Dorset, such an increase is no mean feat. Opera companies around the world can only dream of such a marketing success. However, if audience numbers continue to increase at this rate, it is estimated that the demand for tickets will require us to present at least six performances by 2012. This would be extremely difficult to schedule, so from 2009 onwards, tickets could be in short supply. Ticket shortage There is already evidence that regular audience-goers are aware of a possible ticket shortage. More and more supporters are joining Cav and Pag as they are affectionately known, contain a mass of our Friends’ organisation in order to take advantage of priority well-known tunes for our chorus to get their teeth in to, and for our booking arrangements. loyal audiences to savour. The Easter Hymn, the Internezzo, and Santuzza’s aria Voi lo sapete… from Cav; the Prologue from Pag is The Pearl Fishers: we can dance, as well as sing! in every baritone’s repertoire, and the heart-rending tenor aria Vesti la giubba translated as On with the Motley, is sure to leave a tear in the eye. -
The Latin American Musicologist
The Latin American Music Educator's Best Ally: the Latin American Musicologist Puper reud ut 1/ie V Conjer•mcia Jn1erumer1ca11a (l111trnucionull de Educució11 Musical. Mexico Ciry. Ocwbn 1979 T HE woRLO AT LARGE needs to know that Latin America enjoys an illustrious musical lineage. European music needs no advertisement. Already everyone knows that before Messiaen France boasted Debussy, Berlioz, Rameau, anda string of prior geniuses stretching back to Machaut. Similarly, everyone knows that before Stockhausen in Germany, before Berio and Nono in Italy, and before whomever else one might choose to name in Spain, England, Austria, Scandinavia and the Soviet Union, flourished national geniuses promulgated in every textbook. But what of Latín America? Granted, the world at large knows that before Manuel Enríquez, before Mario Lavista, and before Héctor Quintanar, Mexico boasted a Carlos Chávez and a Silvestre Revueltas. Even so, do not Mexican geniuses flourishing before 1900 tend to pale in the limelight of history? To date, Latin American musicologists have had considerable difficulty in communicating their findings to music educators, so much so that even in the most advanced circles, litera ti still fail to recognize the namcs of many of the truly great composers born in Mexico before Chávez, Revueltas, and Bias Galindo Dimas. Every literate Latin American at least knows who Sor Juana Inés de la Cruz was. But how many know even the name of that superlative composer, born and educated at Mexico City (where he died in 1674), Francisco López Capillas? Or the name of Manuel Zumaya, likewise born and educated at Mexico City (but buried at Oaxaca where he died in 1754)? Here then musicologists and music educators must join hands: first to make more widely known the names of the past musical geniuses of Latín America and second to integrate the music of those prior national stalwarts into the curricula of national con servatories. -
A STYLISTIC ANALYSIS of LISZT's SETTINGS of the THREE PETRARCHAN SONNETS THESIS Presented to the Graduate Council of the North T
$791 I' ' Ac A STYLISTIC ANALYSIS OF LISZT'S SETTINGS OF THE THREE PETRARCHAN SONNETS THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Johan van der Merwe, B. M. Denton, Texas December, 1975 van der Merwe, Johan, A Stylistic Analysis of Liszt's Settings of the Petrarchan Sonnets. Master of Arts (Music), December, 1975, 78 pp., 31 examples, appendix, 6 pp., biblio- graphy, 64 titles. This is a stylistic study of the four versions of Liszt's Three Petrarchan Sonnets with special emphasis on the revi- sion of poetic settings to the music. The various revisions over four versions from 1838 to 1861 reflect Liszt's artis- tic development as seen especially in his use of melody, harmony, tonality, color, tone painting, atmosphere, and form. His use of the voice and development of piano tech- nique also play an important part in these sonnets. The sonnets were inexplicably linked with the fateful events in his life and were in a way an image of this most flamboyant and controversial personality. This study suggests Liszt's importance as an innovator, and his influence on later trends should not be underestimated. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS..........0.... ..... .... iv Chapter I. INTRODUCTION. ......... ......... 1 II. A STYLISTIC ANALYSIS OF LISZT'S SETTINGS OF THE THREE PETRARCHAN SONNETS......a..... 13 Sonnet no. 47, "Benedetto sia '1 giorno" Sonnet no. 104, "Pace non trovo" Sonnet no. 123, "I' vidi in terra angelici costumi" III. CONCLUSION . .*.* .0.0 .a . -
Senior Recital: Christina Ruth Grace Vehar, Mezzo-Soprano
Kennesaw State University School of Music Senior Recital Christina Ruth Grace Vehar, mezzo-soprano Brenda Brent, piano Sunday, May 7, 2017 at 4 pm Music Building Recital Hall Seventieth Concert of the 2016-17 Concert Season program I. GIOVANNI PERGOLESI (1710-1736) Se tu m’ami SALVATOR ROSA (1615-1673) Star Vicino GIOVANNI BATTISTA BONONCINI (1670-1747) Non posso disperar II. GABRIEL FAURÉ (1845-1924) Rêve d'amour HENRI DUPARC (1848-1933) Chanson Triste GABRIEL FAURÉ (1845-1924) Au bord de l'eau III. WOLFGANG AMADEUS MOZART (1756-1791) Das Veilchen FRANZ SCHUBERT (1797-1828) An Die Musik ROBERT SCHUMANN (1810-1856) Widmung IV. HENRY PURCELL (1659-1695) Nymphs and Shepherds THOMAS ARNE (1710-1778) When Daisies Pied SAMUEL BARBER (1910-1981) The Daisies JOHN DUKE (1899-1984) Loveliest of Trees V. JOHN NEWTON (1725-1807) DOLLY PARTON (b. 1942) arr. Craig Hella Johnson Amazing Grace / Light of a Clear Blue Morning Alison Mann, conductor Choir: Emily Bateman, Emma Bryant, Benjamin Cubitt, Brittany Griffith, Cody Hixon, Chase Law, Caty Mae Loomis, Angee McKee, Rick McKee, Shannan O'Dowd, Marielle Reed, Hannah Smith, Forrest Starr This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Music Education. Ms. Vehar studies voice with Eileen Moremen. program notes I. Se tu m’ami | Giovanni Pergolesi Pergolesi was a composer known for his church music, his most popular being Stabat Mater – which became the most printed composition in the 1700s. He also found posthumous success for his opera La serva pedrona. The aria Se tu m’ami sets the scene of a young woman teasing a shepherd, and Pergolesi enhances this story through an ABA (ternary) form with the A section portraying the young woman and the B section portraying the frustrated shepherd boy. -
Salvator Rosa in French Literature: from the Bizarre to the Sublime
University of Kentucky UKnowledge Studies in Romance Languages Series University Press of Kentucky 2005 Salvator Rosa in French Literature: From the Bizarre to the Sublime James S. Patty Vanderbilt University Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Follow this and additional works at: https://uknowledge.uky.edu/srls_book Part of the French and Francophone Literature Commons Preface i Salvator Rosa in French Literature ii Preface Studies in Romance Languages John E. Keller, Editor Preface iii Salvator Rosa in French Literature From the Bizarre to the Sublime James S. Patty THE UNIVERSITY PRESS OF KENTUCKY iv Preface Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2005 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com 09 08 07 06 05 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Patty, James S. -
Carlo~Gomes Também
Biblioteca Centro de Memória- UNICAMP 18IRI..I 111 -r;-I CMUHEOO2149 ARAÚJO, Artur. Carlos Gomes também está na Internet: a página foi criada pela cantora brasileira Cyrene Paparotti, que mora em Nova lorque há cinco anos.' Diário do Povo, Campinas, 14 jul. 1996. Carlo~Gomes também ~esta.na Intero.et =éyrene está também interes- Diário - Alguma entidade A página foi criaáa sada em colocar na Internet te auxiliou a construir essa pela cantora uma página de-;. home page? dicada ao com- Cyrene -Não, foi pura inici- brasileira Cyrene positor erudito ativa minha. ~eu marido está li- brasileiro Lo- gado ao mundo da informática, Paparotti, que mora renzo Fernan- ~nt~4_ess~WiJl~s.s~us..prb em Nova lorque dez (1897/1948),meiros trabalhos na Web.Eufor- adepto do nacio- neci as informações, e ele mon- há cinco anos nalismo musi- tou a página. Hoje montar pági- cal, expresso nas é o seu trabalho. através do uso Diário - Há quantos anos de elementos fol- você estuda Carlos Gomes? clóricos em, sua Cyrene - Meu estudo sério música, na mes- sobre Carlos Gomes começou no ma vertente de meu mestrado, quando escrevi seu contemporâ- uma quase dissertação sobre a neo Villa Lobos. ária O Ciel di Parahyba (O céu Em relação a da Paraíba) da ópera Lo S~hia- Carlos Gomes, a vo (O Escravo), na New York o compositor Carlos Gomes 1 soprano preten- <;:, UÍÜversity, em 92. , já dispõe de uma home page na de ampliar os dados referentes- Diário -Vocêviveu ou nas- Internet. A iniciativa não partiu às óperas do compositor, apre- ceuJ!l!! Campinas? de nenhuma entidade de CAM- sentar uma discografia comple- Cyrene - Eu nasci e me mei PINAS ou do Pais. -
Gomes at the Bloomsbury Keith Lffsen
10 Gomes at the Bloomsbury Keith lffsen In earlier years, when I used to travet with a I-ondon-based entrepreneur, I began to hear about Gomes. It was this tmvel expert who had an ambition to take a pa y ol people to Brazil to hear some of his works. He had had to be content with some hazy, distant, pirate LP's of his operas, and distributed these with some enthusiasm. 1996, the 100th Aruriversary of the death of Antonio Carlos Gomes [1839-1896 Edit] was to have been the occasion of this journey. It didn't take place because of financial considerations. I was rather relieved. I had seen a film of Werner Herzog's 'Fitzcarraldo' in which it was implied that the only way to reach the isolated Opera House was in an unappealing row-boat with Claudia Cardinale and Klaus Kinski. My geography is rather unclear, but this theatre is, I think, in a rubber plantation somewhere up the Amazon. But since then we have had a revival of Gomes. Bonn and the excellent Chelsea Opera Group have dore Il Guarany and in 19 we had Foscc at Wexford. Salvator Rosatrrrevival by Dorset Opera [11 and 12 August 2000 Edit] has, in cornrnon with the Fosca production, a libretto by [Antonio] Ghislanzoni $a24-7a% a neo-Berga.masco Editl and the same excellent tenor [Ferrando Del Valle Edit] in both. We, in the Donizetti Society have to be gmteful to this sma[[ company for the performance of two rarities of our maesfio Gabriell"a di Vergy arrd Maria Padilla. -
A Escrita De Carlos Gomes Para a Seção Dos Metais De Salvator Rosa
Revista Orfeu ISSN: 2525-5304 [email protected] Universidade do Estado de Santa Catarina Brasil A escrita de Carlos Gomes para a seção dos metais de Salvator Rosa Isaac William Kerr; Lenita Waldige Mendes Nogueira; Marcos da Cunha Lopes Virmond A escrita de Carlos Gomes para a seção dos metais de Salvator Rosa Revista Orfeu, vol. 1, núm. 1, 2016 Universidade do Estado de Santa Catarina, Brasil DOI: https://doi.org/10.5965/2525530401022016156 Autores mantém os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Licença Creative Commons Attribution que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista. Esta obra está bajo una Licencia Creative Commons Atribución 4.0 Internacional. PDF gerado a partir de XML JATS4R Artigos A escrita de Carlos Gomes para a seção dos metais de Salvator Rosa Isaac William Kerr [email protected] UNICAMP, Brasil Lenita Waldige Mendes Nogueira [email protected] UNICAMP, Brasil Marcos da Cunha Lopes Virmond [email protected] USC, Brasil Resumo: Após retumbante sucesso de Il Guarany e a polêmica gerada por sua ousada Fosca, Antônio Carlos Gomes, agora bem experimentado em dois modelos distintos, a tradição da primeira e a inovação da segunda, termina por colocar nos palcos seu Salvator Rosa (1874), valendo-se de procedimentos bem comuns de estrutura e composição Revista Orfeu, vol. 1, núm. 1, 2016 musical. Apesar desse retorno às convenções, percebemos maior liberdade de escrita do compositor campineiro à seção dos metais, atribuindo-lhes funções pouco comuns Universidade do Estado de Santa para a antiga es- cola do melodrama. -
Sofia SOLOVIY Soprano
Sofia SOLOVIY Soprano Sofia Soloviy was born in the Ukraine, she finished her studies at the Music Academy in Lviv, Ukraine, and obtained her diploma in piano and a university degree in musicology and singing, then she studied at the Academy of Osimo, she obtained the Diploma Accademico second degree with the Musical Institute “Orazio Vecchi” in Modena and won prizes at competitions in Vercelli, Milano, Padua, Rome and Deutschlandsberg. She appeared as Donna Elvira and Elisetta in “Matrimonio segreto” in Osimo and Venice , as “Nozze di Figaro” Countess in Seoul , as Rosalia in “Equivoco stravagante” in Bad Wildbad and in Strasbourg under Mo. Zedda , and as Fiordiligi in Siena . At the Festival in Martina Franca she sang Teodolinda in “Gli amori di Teolinda”, Gennariello in “Salvator Rosa" under Mo. Maurizio Benini , Idamantes with Mo. Corrado Rovaris and Salome with Mo. Massimiliano Caldi . At Teatro dell’Opera in Rome she was heard as Ruggiero in “Tancredi”, Azema in “Semiramide” (Mo. Gianluigi Gelmetti , Pierluigi Pizzi ) as well as with Countess in “Nozze di Figaro”. She appeared as Giovanna Seymour in “Anna Bolena” at Teatro Donizetti in Bergamo , took part in a tour in Japan and sang at the Beethoven Festival in Warsaw . She sang Fiordiligi at the Festival Aix-en-Provence with Mo. Rousset , in Siena with Mo. Gelmetti , in Santiago de Chile with Mo. Bennini , at Teatro S. Carlo in Naples with Mo. Curtis and in Luxembourg with Mo. Sperling , Pamina in Treviso , Jesi , Fermo and Udine, Arminda in “Finta giardiniera” in Salzburg , Donna Anna in Padua , “Seven gates of Jerusalem” in Munich and in Florence (Mo. -
FSU ETD Template
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 Brazilian Portuguese Lyric Diction for American Singers and Antônio Carlos Gomes: His Life and Musical Style within the Transitional Period from Bel Canto to Verismo Guilherme Coelho Godoi Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BRAZILIAN PORTUGUESE LYRIC DICTION FOR AMERICAN SINGERS AND ANTÔNIO CARLOS GOMES: HIS LIFE AND MUSICAL STYLE WITHIN THE TRANSITIONAL PERIOD FROM BEL CANTO TO VERISMO By GUILHERME COELHO GODOI A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 © 2017 Guilherme Coelho Godoi Guilherme Coelho Godoi defended this treatise on November 7, 2017. The members of the supervisory committee were: Valerie M. Trujillo Professor Directing Treatise Evan A. Jones University Representative Douglas L. Fisher Committee Member Joseph C. Kraus Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my family iii TABLE OF CONTENTS List of Tables ...................................................................................................................................v List of Figures ............................................................................................................................... -
2020 Undergraduate Vocal Scholarship Competition Finals
Undergraduate Vocal Scholarship Competition Finals Concert Judges: Tiffany Blake International soprano, associate professor of voice and director of the Charles and Reta Ralph Opera Program at Colorado State University Melissa Malde International mezzo-soprano, author and chair of voice department, University of Northern Colorado Javier Abreu International tenor 7:30 p.m., Wednesday, Jan. 22, 2020 Grusin Music Hall Imig Music Building Program Nature, the Gentlest Mother Aaron Copland (1900-1990) Requiem Robert Schumann (1810-1856) Amelia Lindsey, mezzo-soprano Keith Teepen, piano “I’m Not Afraid of Anything” from Songs for a New World Jason Robert Brown (b.1970) “Requiem” from Dear Evan Hansen Pasek and Paul Sabrina Lasica, soprano Keith Teepen, piano “You Can’t Get a Man With a Gun” from Annie Get Your Gun Irving Berlin (1888-1989) “With You” from Ghost Dave Stewart (b.1952) Lou Abecassis, soprano Keith Teepen, piano “Tutto è disposto...aprite un po’ quegli occhi” from Le nozze di Figaro W. A. Mozart (1756-1791) “Aufenthalt” Franz Schubert (1797-1828) Benjamin Morrow, baritone Suyeon Kim, piano Star Vicino Salvator Rosa (1615-1673) “Tell Me Why” from Amazing Grace Christopher Smith Melissa Burke-Manwaring, soprano Keith Teepen, piano Она, как полдень, хороша Sergei Rachmaninov (1873-1943) “Hellfire” fromThe Hunchback of Notre Dame Alan Menken (b.1949) Elizabeth Healy, baritone Hsiao-Ling Lin, piano “The Silver Aria” from The Ballad of Baby Doe Douglass Moore (1893-1969) “Eccomi in Lieta Vesta” from I Capuleti e Montecchi Vincenzo Bellini (1801-1835) Megan Pryor, soprano Hsiao-Ling Lin, piano “Già il sole dal Gange” Alessandro Scarlatti (1660-1725) “Sibella” from A Gentleman’s Guide to Love and Murder Steven Lutvak (b.1959) Sam Meyer, tenor Nathália Kato, piano About the College of Music Founded in 1920, the college offers a wide range of programs for undergraduate and graduate study, uniquely combining advanced musical training with professionally oriented experiences and the rich resources of a leading research university. -
ARSC Journal
Odyssey Y33793 LegendB.IJ" Performances Claudia MJ.zio (1889-1936) on Edison Diamond Discs, vol. 2 (1920-1921) Side 1 Gomes: Mi.a piccirella, from Salvator Rosa (Recorded November 5, 1920); Bachelet: Chere nuit (Recorded November 11, 1920); Sodero: Crisantemi (Recorded November 11, 1920); Verdi: Tacea la notte, from Il Trovatore (Recorded November 1, 1920); Verdi: D'amor sull'ali rosee, from Il Trovatore (Recorded November 6, 1920); Giordano: La mamma morta, from Andrea Chenier (Recorded November B, 1920); Side 2 Tchaikovsky: Sei forse l'angelo fedele?, from Eugene Onegin (Recorded November 3, 1920); Leoncavallo: Ballatella, from I Pagliacci (Recorded January 24, 1921); Catalani: Ebben? Ne andr6 lontana, from La "Wally (Recorded November 22, 1920); Chopin: Aspiration (Recorded April 1, 1921); Puccini: Si, mi chiamano Mi.mi, from La Boheme (Recorded January 31, 1921); Mascheroni: Eternamente, Albert Spalding, violin; Robert Gayler, piano (Recorded April 27, 1921) This is the second rerecording of MJ.zio•s Edison discs in a wel come series of recordings issued by Columbia-Odyssey. The first of these was issued in 1974, Odyssey 32676, entitled Legendary Performances, Claudia MJ.zio: Re-recordings from the Edison Diamond Discs. The pro ducer whom we have to thank for these excellent and interesting records is James Gladstone, who has used a recent technique "of placing separate pickups within the horn of the acoustical reproducing instrument." As Howard Klein states in his notes on the first reissue, "The result is that a youthful, many-faceted