DOCSLIB.ORG

Leontyne Price: Voice of a Century by Carole Boston Weatherford Illustrated by Raul Colón Grades K-4 • Ages 5-9

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Leontyne Price: Voice of a Century by Carole Boston Weatherford Illustrated by Raul Colón Grades K-4 • Ages 5-9 Leontyne Price: Voice of a Century by Carole Boston Weatherford illustrated by Raul Colón Grades K-4 • Ages 5-9 American opera legend Leontyne Price had a remarkable life journey that took her from Jim Crow Mississippi to the world’s most prestigious opera stages. Hers is the story of a girl with a remarkable voice, a passion for music, and the determination to realize her dream. In Leontyne Price: Voice of a Century, readers will discover how Price overcame racism and other obstacles, which made it nearly impossible for a black girl from the South to dream of being an opera singer. Prevail she did, becoming one of the world’s most beloved and celebrated international stars. Illustration © 2014 by Raul Colón This guide is aligned with the following Common Core curriculum standards for the fourth grade. If you teach another grade, you can easily find the relevant standards at CoreStandards.org. Key Ideas and Details (Reading Informational Text and Reading Literature): CCSS.ELA-LITERACY.RL.4.1, RI.4.1: Refer to details and examples in a text when explaining what the text says explicitly and when drawing inferences from the text. Craft and Structure: CCSS.ELA-LITERACY.RL.4.4: Determine the meaning of words and phrases as they are used in a text, including those that allude to significant characters found in mythology (e.g., Herculean). Comprehension and Collaboration: CCSS.ELA-LITERACY.SL.4.1: Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 4 topics and texts, building on others’ ideas and expressing their own clearly. CCSS.ELA-LITERACY.SL.4.1.D: Review the key ideas expressed and explain their own ideas and understanding in light of the discussion. Vocabulary Acquisition and Use: CCSS.ELA-LITERACY.L.4.5: Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. CCSS.ELA-LITERACY.L.4.5.A: Explain the meaning of simple similes and metaphors (e.g., as pretty as a picture) in context. PRE-READING Examine the title page and discuss the following: • What does the subtitle, Voice of a Century, mean? • Point out the colorful, swirling lines. What might these bands of color represent? Listen to a recording of the spiritual “He’s Got the Whole World in His Hands.” Ask students to describe the song and the feelings it evokes. What are “big dreams”? Why are they important to have? CURRICULUM-CONNECTIONS DISCUSSION GUIDE Illustration © 2014 by Raul Colón 1. Study the illustration that opens the story. What information does the illustrator provide to help you understand the setting? 2. Discuss the meaning of this text in terms of race and segregation. The author writes, “The line between black and white was as wide as the Mississippi was long.” 3. Introduce the blues as a musical genre. Play examples of the blues to students and discuss the style, lyrics, and mood of this original American musical form. 4. Discuss what the author means by the phrase “the Mississippi Delta cradled misery” and why it is an example of personification. 5. How did Leontyne’s early family life help her to reach her potential and fulfill her dreams? What is meant by “Their song of encouragement rose above the color line”? 6. What does it mean to find your voice? How did Leontyne find her voice? 7. What character traits did she possess that helped her become an international opera star? Leontyne had a beautiful singing voice, but she didn’t achieve success by talent alone. 8. How did Marian Anderson’s example inspire young Leontyne? Discuss the line “Her song, like a torch, sparked a light in Leontyne.” Why was it so important for Leontyne to have an African American role model? 9. In 1939 Marian Anderson was barred from singing in a whites-only concert hall. Discuss the meaning of racial segregation. How did Marian Anderson’s experiences as a black artist “open the door” for Leontyne Price? 10. What is the difference between Broadway and grand opera? Why do you think Leontyne was permitted to star in a Broadway musical but not sing in an opera? 11. Study the picture of Leontyne performing at La Scala, Italy’s famed opera palace. How does the illustrator represent her powerful and beautiful voice? 12. Discuss the Jim Crow laws, which segregated African Americans. How did Leontyne’s appearance on American television change people’s feelings about segregation, discrimination, and racism? 13. What does the author mean by “As the Ethiopian princess, with her skin as her costume, she expressed her whole self thin”? 14. As Aida, how was Leontyne “standing on Marian’s shoulders”? 15. What does “the shadow” symbolize? 16. What does the author mean when she writes that Leontyne’s “song sure wasn’t the blues”? Prepared by Colleen Carroll, children’s book author, curriculum writer-developer, and education consultant, Sleepy Hollow, New York Leontyne Price: Voice of a Century Name: __________________________ EXPLORING FIGURATIVE LANGUAGE In Leontyne Price: Voice of a Century, there are many phrases that describe the power and beauty of music. Pick one of the following lines from the book, and illustrate the picture it creates in your mind. 1. the song came through her fingertips. 2. Her song, like a torch, sparked a light in Leontyne. Illustration © 2014 by Raul Colón 3. her song rose to the rafters. 4. Her song scaled the six tiered balconies and brushed the gilded ceiling. Educators: Reproduce this sheet for your students. RandomHouseKids.com RHTeachersLibrarians.com Leontyne Price: Voice of a Century Name: __________________________ Part I. Overcoming Obstacles Leontyne Price had to overcome many obstacles throughout her life before she achieved success as an opera singer. Think about the obstacles Leontyne faced and overcame, and describe them in the chart below: Early Life Obstacles How She Overcame the Obstacles Student Life Professional Life (Career) Part II. Describe the lessons you have learned from Leontyne Price’s story that can help you overcome obstacles in your own life. Illustration © 2014 by Raul Colón Educators: Reproduce this sheet for your students. RandomHouseKids.com RHTeachersLibrarians.com.
Load more

Recommended publications
  • ARSC Journal, Spring 1992 69 Sound Recording Reviews
    SOUND RECORDING REVIEWS Chicago Symphony Orchestra: The First Hundred Years CS090/12 (12 CDs: monaural, stereo; ADD)1 Available only from the Chicago Symphony Orchestra, 220 S. Michigan Ave, Chicago, IL, for $175 plus $5 shipping and handling. The Centennial Collection-Chicago Symphony Orchestra RCA-Victor Gold Seal, GD 600206 (3 CDs; monaural, stereo, ADD and DDD). (total time 3:36:3l2). A "musical trivia" question: "Which American symphony orchestra was the first to record under its own name and conductor?" You will find the answer at the beginning of the 12-CD collection, The Chicago Symphony Orchestra: The First 100 Years, issued by the Chicago Symphony Orchestra (CSO). The date was May 1, 1916, and the conductor was Frederick Stock. 3 This is part of the orchestra's celebration of the hundredth anniversary of its founding by Theodore Thomas in 1891. Thomas is represented here, not as a conductor (he died in 1904) but as the arranger of Wagner's Triiume. But all of the other conductors and music directors are represented, as well as many guests. With one exception, the 3-CD set, The Centennial Collection: Chicago Symphony Orchestra, from RCA-Victor is drawn from the recordings that the Chicago Symphony made for that company. All were released previously, in various formats-mono and stereo, 78 rpm, 45 rpm, LPs, tapes, and CDs-as the technologies evolved. Although the present digital processing varies according to source, the sound is generally clear; the Reiner material is comparable to RCA-Victor's on-going reissues on CD of the legendary recordings produced by Richard Mohr.
    [Show full text]
  • Michael Morgan Playlist
    Maestro Michael Morgan Playlist Details For over thirty years, Michael Morgan has been the Oakland Symphony Conductor and Music Director. Here, he puts together a list of his favorite music with a brief explanation on what this music means to him and his life. 1.) Mahler Symphony No. 7. Leonard Bernstein two of my favorite artists. Old school historically conducts New York Philharmonic. This is the informed performance. recording that started my obsession with this piece. It is an amazing puzzle for the conductor. And, of 7.) Dvorak Symphony No. 7 Witold Rowicki/ course, Bernstein was one of my most important London Symphony Orchestra. The greatest Dvorak mentors. Symphony performed by another of my important teachers: Witold Rowicki, a founder of the Warsaw 2.) Mendelssohn Elijah. Rafael Frubeck de Burgos Philharmonic. with New Philharmonia Orchestra. I adore this piece and the peerless singing of Janet Baker, along with 8.) Bach B minor Mass. John Eliot Gardiner/The the spectacular singing and English diction of Nicolai English Baroque Soloists. A favorite piece led by a Gedda make this just a treasured recording. favorite conductor. But I could endorse any of a number of recordings by early music specialists. 3.) Stephen Foster Song Book. Robert Shaw Chorale. Count this as a somewhat guilty pleasure. I 9.) Schumann Frauenlieben und Leben. Any of the love these songs (unfortunate, outdated, racist recordings by Kathleen Ferrier. The combination of language and all) and the sound Robert Shaw got out Schumann's heartfelt song cycle and the great of his singers is incomparable. Robert Shaw was also English Contralto Kathleen Ferrier is highly moving.
    [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]
  • Honorary Degree Recipients 1977 – Present
    Board of Trustees HONORARY DEGREE RECIPIENTS 1977 – PRESENT Name Year Awarded Name Year Awarded Claire Collins Harvey, C‘37 Harry Belafonte 1977 Patricia Roberts Harris Katherine Dunham 1990 Toni Morrison 1978 Nelson Mandela Marian Anderson Marguerite Ross Barnett Ruby Dee Mattiwilda Dobbs, C‘46 1979 1991 Constance Baker Motley Miriam Makeba Sarah Sage McAlpin Audrey Forbes Manley, C‘55 Mary French Rockefeller 1980 Jesse Norman 1992 Mabel Murphy Smythe* Louis Rawls 1993 Cardiss Collins Oprah Winfrey Effie O’Neal Ellis, C‘33 Margaret Walker Alexander Dorothy I. Height 1981 Oran W. Eagleson Albert E. Manley Carol Moseley Braun 1994 Mary Brookins Ross, C‘28 Donna Shalala Shirley Chisholm Susan Taylor Eleanor Holmes Norton 1982 Elizabeth Catlett James Robinson Alice Walker* 1995 Maya Angelou Elie Wiesel Etta Moten Barnett Rita Dove Anne Cox Chambers 1983 Myrlie Evers-Williams Grace L. Hewell, C‘40 Damon Keith 1996 Sam Nunn Pinkie Gordon Lane, C‘49 Clara Stanton Jones, C‘34 Levi Watkins, Jr. Coretta Scott King Patricia Roberts Harris 1984 Jeanne Spurlock* Claire Collins Harvey, C’37 1997 Cicely Tyson Bernice Johnson Reagan, C‘70 Mary Hatwood Futrell Margaret Taylor Burroughs Charles Merrill Jewel Plummer Cobb 1985 Romae Turner Powell, C‘47 Ruth Davis, C‘66 Maxine Waters Lani Guinier 1998 Gwendolyn Brooks Alexine Clement Jackson, C‘56 William H. Cosby 1986 Jackie Joyner Kersee Faye Wattleton Louis Stokes Lena Horne Aurelia E. Brazeal, C‘65 Jacob Lawrence Johnnetta Betsch Cole 1987 Leontyne Price Dorothy Cotton Earl Graves Donald M. Stewart 1999 Selma Burke Marcelite Jordan Harris, C‘64 1988 Pearl Primus Lee Lorch Dame Ruth Nita Barrow Jewel Limar Prestage 1989 Camille Hanks Cosby Deborah Prothrow-Stith, C‘75 * Former Student As of November 2019 Board of Trustees HONORARY DEGREE RECIPIENTS 1977 – PRESENT Name Year Awarded Name Year Awarded Max Cleland Herschelle Sullivan Challenor, C’61 Maxine D.
    [Show full text]
  • 07 – Spinning the Record
    VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo.
    [Show full text]
  • An Die Musik
    June 1— September 12, 2012 An die Musik The Schubert Club • Saint Paul, Minnesota • schubert.org schubert.org 1 Photo:Carol Friedmann An die Musik A Brief History of June 1—September 12, 2012 The Schubert Club The Schubert Club • Saint Paul, Minnesota • schubert.org The Schubert Club was launched on an autumn afternoon in the year 1882. Marion Ramsey Furness, daughter of Table of Contents Governor Ramsey, along with some music-loving friends, formed a club they called “The Ladies Musicale.” The first meetings were social gatherings with club members 5 Upcoming Special Events providing musical counterpoint. Concerts, lectures and study groups were soon organized, and before long the name was 7 The Schubert Club Officers, Board of Directors and Staff changed to honor composer Franz Schubert. In 1893, by adding the International Artist Series to its programs, the 8 The Past Concert Season women began presenting some of the finest artists of the day—including the recital debuts in Saint Paul of Vladimir Horowitz in 1928, Dietrich Fischer-Dieskau in 1955, 10 Student Scholarship Competition Leontyne Price in 1961, Mstislav Rostropovich in 1963, and Cecilia Bartoli in 1996 among many others. Following decades 12 The Schubert Club Museum of musical collaboration, the venerable Music in the Park Series became part of The Schubert Club in 2010. Schubert 14 Annual Luncheon Club audiences now total more than 30,000 people a year. 16 2012-2013 Season Promoting music in education has long been an important part of The Schubert Club’s activities. The annual student 18 130 Years of Musical Excellence scholarship competition, begun in 1922, awards more than $50,000 each year to young musicians.
    [Show full text]
  • The Social Work of Music a Musician's Path to Change
    ALUMNI GAZETTE The Social Work of Music Jazz composer and pianist Darrell Grant ’84E measures his success not only by how his music sounds, but also by what it does. b y Karen McCally ’02 (PhD) Darrell Grant ’84E has been a celebrat- ed jazz composer and pianist since early in his career, when his first solo project, Black Art (Criss Cross), was named by the New York Times as one of the top 10 jazz recordings of 1994. In 1997, he took an unusual step for a ris- ing jazz artist. He moved out of New York City to Portland, Oregon, a place much less known for its jazz scene. Grant and his wife, Anne McFall ’85E, who studied viola at Eastman, were eager to start a new life there. Yet it was also a place Grant felt would allow him, to a far greater extent than in New York City, to form meaningful connections with audi- ences and with his community. “One of the things I was interested in was the idea of doing well by doing good,” says Grant, who teaches at Portland State University. “If you’re going to create some- thing, you get to determine the measures for success. And something I always want- ed to figure out was ways to connect my musical projects to something broader in VaLuE(S)-aDDED: In a variety of projects, Grant seeks to integrate his music with his values. the community.” ESSAY This past fall, Grant contributed an es- say for a special edition of Chamber Mu- sic magazine (see “A Musician’s Path to A Musician’s Path to Change Change”).
    [Show full text]
  • John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens
    2011 NATIONAL ENDOWMENT FOR THE ARTS 1100 Pennsylvania Avenue, NW Washington, DC 20506-0001 John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens Robert Ward Robert Ward NATIONAL ENDOWMENT FOR THE ARTS 2011 John Conklin’s set design sketch for San Francisco Opera’s production of The Ring Cycle. Image courtesy of John Conklin ii 2011 NEA OPERA HONORS Contents 1 Welcome from the NEA Chairman 2 Greetings from NEA Director of Music and Opera 3 Greetings from OPERA America President/CEO 4 Opera in America by Patrick J. Smith 2011 NEA OPERA HONORS RECIPIENTS 12 John Conklin Scenic and Costume Designer 16 Speight Jenkins General Director 20 Risë Stevens Mezzo-soprano 24 Robert Ward Composer PREVIOUS NEA OPERA HONORS RECIPIENTS 2010 30 Martina Arroyo Soprano 32 David DiChiera General Director 34 Philip Glass Composer 36 Eve Queler Music Director 2009 38 John Adams Composer 40 Frank Corsaro Stage Director/Librettist 42 Marilyn Horne Mezzo-soprano 44 Lotfi Mansouri General Director 46 Julius Rudel Conductor 2008 48 Carlisle Floyd Composer/Librettist 50 Richard Gaddes General Director 52 James Levine Music Director/Conductor 54 Leontyne Price Soprano 56 NEA Support of Opera 59 Acknowledgments 60 Credits 2011 NEA OPERA HONORS iii iv 2011 NEA OPERA HONORS Welcome from the NEA Chairman ot long ago, opera was considered American opera exists thanks in no to reside within an ivory tower, the small part to this year’s honorees, each of mainstay of those with European whom has made the art form accessible to N tastes and a sizable bankroll.
    [Show full text]
  • CHICAGO SYMPHONY ORCHESTRA RADIO BROADCASTS Broadcast Schedule – Fall 2019
    CHICAGO SYMPHONY ORCHESTRA RADIO BROADCASTS Broadcast Schedule – Fall 2019 PROGRAM #: CSO 19-42 RELEASE DATE: October 11, 2019 Michael Tilson Thomas and Gautier Capuçon Stravinsky: Scènes de ballet Saint-Saens: Cello Concerto No. 1 in A Minor, Op. 33 (Gautier Capuçon, cello) Prokofiev: Suite from Romeo and Juliet Strauss: Death and Transfiguration, Op. 24 (Donald Runnicles, conductor) PROGRAM #: CSO 19-43 RELEASE DATE: October 18, 2019 Marin Alsop and Hilary Hahn Brahms: Academic Festival Overture, Op. 80 Sibelius: Violin Concerto in D Minor, Op. 47 (Hilary Hahn, violin) Rachmaninov: Symphony No. 2 in E Minor, Op. 27 PROGRAM #: CSO 19-44 RELEASE DATE: October 25, 2019 Riccardo Muti conducts Sheherazade Mozart: Overture to Don Giovanni, K. 527 Mozart: Symphony No. 40 in G Minor, K. 550 Rimsky-Korsakov: Sheherazade (Robert Chen, violin) Beethoven: Symphony No. 1 in C Major, Op. 21 (Fritz Reiner, conductor) PROGRAM #: CSO 19-45 RELEASE DATE: November 1, 2019 Riccardo Muti and Joyce DiDonato Bizet: Roma Symphony in C Berlioz: The Death of Cleopatra (Joyce DiDonato, mezzo-soprano) Respighi: Pines of Rome Prokofiev: Romeo and Juliet, Op. 64: Montagues and Capulets Juliet the Young Girl Minuet Romeo and Juliet Romeo at Juliet’s Tomb PROGRAM #: CSO 19-46 RELEASE DATE: November 8, 2019 Riccardo Muti conducts Rossini's Stabat mater Mozart: Kyrie in D Minor, K. 341 (Chicago Symphony Chorus; Duain Wolfe, director) Cherubini: Chant sur la mort de Joseph Haydn (Krassimira Stoyanova, soprano; Dmitry Korchak, tenor; Enea Scala, tenor; Chicago Symphony
    [Show full text]
  • The University Mnsical Society 01 the University of Michigan
    The University Mnsical Society 01 The University of Michigan Presents ANN ARBOR THE PHILADELPHIA ORCHESTRA EUGENE ORMANDY, Conductor SOLOIST LEONTYNE PRICE, Soprano THURSDAY EVENING, APRIL 29, 1971, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM *"Two Portraits," Op. 5 "One Ideal" (NORMAN CAROL, Violin) "One Grotesque" "Dove sono" from Le N ozze di Figaro MOZART "Ritorna vincitor" from Atda VERDI LEONTYNE PRICE tSymphony No. 8 in B minor ("Unfinished") SCHUBERT Allegro moderato Andante con moto INTERMISSION Four Last Songs . RICHARD STRAUSS FrUhling September Beirn Schlafengehen 1m Abendrot "Pace, pace" from La Forza del Destino VERDI MISS PRICE *"Till Eulenspiegel's Merry Pranks," Op. 28 R. STRAUSS '" Available on Columbia Records t RCA Red Seal May Festival Program Books on sale in the main lobby. First Concert 78th Annual May Festival Complete Programs 3723 LEONTYNE PRICE, born in Laurel, Mississippi, is at the height of a fabulous international career in concert and opera, begun in the 1950's. Numerous honors and awards have been bestowed on this foremost prima donna of the Metropolitan Opera Company. She appeared in Ann Arbor previously at the May Festivals of 1957, 1960, 1965. THE PHILADELPHIA ORCHESTRA now completing its 71st season, has been the focal point of these May Festival concerts since 1936. Its distinguished conductor, Eugene Ormandy (who holds an honorary degree in music from the University of Michigan) has been Musical Director of the Philadelphia Orchestra since 1937 and has, with the orchestra, performed more concerts in Ann Arbor than any other visit­ ing conductor. INTERNATIONAL PRESENTATIONS-1971-72 Next season's attractions are listed in four separate series, for which tickets may now be ordered.
    [Show full text]
  • Interview with RENEE FLEMING Was Conducted by the Library of Congress on March 23, 2018
    This interview with RENEE FLEMING was conducted by the Library of Congress on March 23, 2018 Renee Fleming Library of Congress: For you, what was the general experience of making the album like? Renee Fleming: Recording “Signatures” was, for me, the ultimate experience--a chance to capture a wide range of iconic opera scenes from my core repertoire, with legendary conductor, Sir Georg Solti, and the world-renowned London Symphony Orchestra. Opera is a largely European tradition, but I was fortunate to have mentors in American icons Beverly Sills, Marilyn Horne, and Leontyne Price, who gave me invaluable personal guidance at the beginning and well into my career. And as the daughter of two public-school vocal music teachers, I grew up steeped in music, but I was also the beneficiary of a robust, wide-ranging education in arts in our local public school system. To have “Signatures” included in the National Registry of the Library of Congress is an honor that is deeply meaningful for me; not only because I love these works so much, but also because I feel that now, more than ever, valuing arts in our culture is absolutely essential. LOC: How did you go about choosing the particular selections for this album? RF: I was offered a rare opportunity in this album–a luxury, really–of recording full scenes, rather than just excerpted arias. At the time, it was unusual to present so many different languages on one recording, and few Americans recorded in Russian or Czech. For “Signatures,” I recorded extended scenes: Tatyana’s letter scene from “Eugene Onegin,” the Willow Song and Ave Maria sequence from “Otello,” and Daphne’s transformation from Strauss’s opera of the Greek myth.
    [Show full text]
  • Carmel Music Society
    Musical Excellence Since 1927 carmel music society PERFORMANCE HISTORY 1927-2013 with support from the Monterey County Board of Supervisors Carmel Music Society Post Office Box 22783 Carmel, California 93922 831-625-9938 831-625-6823 FAX www.carmelmusic.org [email protected] printed on recycled paper 2008-09 2011-12 The Romeros Guitar Quartet Nobuyuki Tsujii, Pianist Adaskin Trio & Gryphon Trio Carmel Music Society Tom Gallant, Oboist Astrid Schween, Cellist & Board of Directors Takâcs Quartet Gary Hammond, Pianist Hans Boepple, Pianist Frederica von Stade, Mezzo-Soprano & Voices of London Kristin Pankonin, Pianist Anne Thorp, President Bennewitz String Quartet Israeli Chamber Project Victoria Davis, First Vice President Triple Helix & Garrick Ohlsson, Pianist Rudolf Schroeter, Second Vice President Paul Hersh, Violist Nadja Salerno-Sonnenberg, Violinist & Yefim Bronfman, Pianist Anne-Marie McDermott, Pianist Larry Davidson, Third Vice President Dana Booher, Saxophonist* Pavel Haas Quartet Peter Thorp, Treasurer Jae-in Shin, Violinist* Greta Alexander, Secretary 2009-10 Academy of Saint Martin in the Fields Chamber Ensemble Tim Brown Kate Kluetmeier Alexander Quartet & Eli Eban, Clarinetist Doris Cobb Jim Rotter Susan Graham, Beverly Dekker-Davidson Barbara Ruzicka Mezzo-Soprano & Erik Dyar Kumi Uyeda Malcolm Martineau, Pianist Menachem Pressler, Pianist & American String Quartet Gustavo Romero, Pianist Advisors Albers String Trio David Gordon, Renée Bronson Timothy Fain, Violinist & Cory Smythe, Pianist Bert Ihlenfeld, Ginna
    [Show full text]