Rodgers & Hammerstein's Ariadne Auf Naxos
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Creativity & Innovation
MISSOURI MUSIC EDUCATORS 78TH ANNuaL IN-SERVICE WORKSHOP/CONFERENce CREATIVITY & INNOVATION JANUARY 27- 30, 2016 TAN-TAR-A RESORT & GOLF CLUB LAKE OZARK, MISSOURI 1 probably a tan tar a ad here? or nafme something or other 2 TABLE OF CONTENTS From the President .................................................................................4 Conference Schedule Wednesday ............................................................................................5 Thursday .................................................................................................7 All State Rehearsal Schedule ............................................................... 17 Friday .................................................................................................. 22 Saturday .............................................................................................. 37 All-State Concert Programs .................................................................. 40 Leadership MMEA Board of Directors/Administrative Personnel ............................44 MMEA Advisory Council .......................................................................45 District Leadership ...............................................................................46 Affiliate Organizations .........................................................................49 Supporting Organizations ...................................................................50 Schedule of Organization Business Meetings .....................................51 MMEA Past -
Eberhard Waechter“
DIPLOMARBEIT Titel der Diplomarbeit „Eberhard Waechter“ Verfasserin Mayr Nicoletta angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl: A 317 Studienrichtung: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof.Dr. Hilde Haider-Pregler Dank Ich danke vor allem meiner Betreuerin Frau Professor Haider, dass Sie mir mein Thema bewilligt hat und mir mit Rat und Tat zur Seite stand. Ich danke der Familie Waechter und Frau Anneliese Sch. für die Bereitstellung des Materials. Ich danke meiner Schwester Romy und meiner „Seelenverwandten“ Sheila und all meinen Freunden für ihre emotionale Unterstützung und die zahlreichen motivierenden Gespräche. Ich danke meinem Bruder Florian für die Hilfe im Bereich der Computertechnik. Ein großer Dank gilt meiner Tante Edith, einfach dafür, dass es dich gibt. Außerdem danke ich meinen Großeltern, dass sie meine Liebe zur Musik und zur Oper stets enthusiastisch aufgenommen haben und mit mir Jahr für Jahr die Operettenfestspiele in Bad Ischl besucht haben. Ich widme meine Diplomarbeit meinen lieben Eltern. Sie haben mich in den letzten Jahren immer wieder finanziell unterstützt und mir daher eine schöne Studienzeit ermöglicht haben. Außerdem haben sie meine Liebe und Leidenschaft für die Oper stets unterstützt, mich mit Büchern, Videos und CD-Aufnahmen belohnt. Ich danke euch für eure Geduld und euer Verständnis für eure oft komplizierte und theaterbessene Tochter. Ich bin glücklich und froh, so tolle Eltern zu haben. Inhalt 1 Einleitung .......................................................................................... -
German Jews in the United States: a Guide to Archival Collections
GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ................................................................................................... -
La-Boheme-Study-Guide-Reduced.Pdf
VANCOUVER OPERA PRESENTS LA BOHÈME Giacomo Puccini STUDY GUIDE OPERA IN FOUR ACTS By Giacomo Puccini Libretto by Giuseppe Giacosa and Luigi Illica, based on Henri Murger’s novel Scènes de la Vie de bohème. In Italian with English Surtitles™ CONDUCTOR Judith Yan DIRECTOR Renaud Doucet QUEEN ELIZABETH THEATRE February 14, 16, 19 & 21at 7:30PM | February 24 at 2PM DRESS REHEARSAL Tuesday, February 12 at 7PM OPERA EXPERIENCE Tuesday, February 19 and 21 at 7:30PM EDUCATION LA BOHÈME VANCOUVER OPERA | STUDY GUIDE LA BOHÈME Giacomo Puccini CAST IN ORDER OF VOCAL APPEARANCE MARCELLO, A PAINTER Phillip Addis RODOLFO, A POET Ji-Min Park COLLINE, A PHILOSOPHER Neil Craighead SCHAUNARD, A MUSICIAN Geoffrey Schellenberg BENOIT, A LANDLORD J. Patrick Raftery MIMI, A SEAMSTRESS France Bellemare PLUM SELLER Wade Nott PARPIGNOL, A TOY SELLER William Grossman MUSETTA, A WOMAN OF THE LATIN QUARTER Sharleen Joynt ALCINDORO, AN ADMIRER OF MUSETTA J. Patrick Raftery CUSTOMS OFFICER Angus Bell CUSTOMS SERGEANT Willy Miles-Grenzberg With the Vancouver Opera Chorus as habitués of the Latin Quarter, students, vendors, soldiers, waiters, and with the Vancouver Opera Orchestra. SCENIC DESIGNER / COSTUME DESIGNER André Barbe CHORUS DIRECTOR/ ASSOCIATE CONDUCTOR Leslie Dala CHILDREN’S CHORUS DIRECTOR / PRINCIPAL RÉPÉTITEUR Kinza Tyrrell LIGHTING DESIGNER Guy Simard WIG DESIGNER Marie Le Bihan MAKEUP DESIGNER Carmen Garcia COSTUME COORDINATOR Parvin Mirhady MUSICAL PREPARATION Tina Chang, Perri Lo* STAGE MANAGER Theresa Tsang ASSISTANT DIRECTOR Peter Lorenz ASSISTANT STAGE MANAGERS Marijka Asbeek Brusse, Michelle Harrison ASSISTANT LIGHTING DESIGNER Sara Smith ENGLISH SURTITLE™ TRANSLATIONS David Edwards Member of the Yulanda M. Faris Young Artist Program* The performance will last approximately 2 hours and 18 minutes. -
Media Release
Media Release FOR IMMEDIATE RELEASE: January 15, 2019 Contact: Edward Wilensky (619) 232-7636 [email protected] San Diego Opera’s 2018-2019 Main Stage Season Closes With Bizet’s Carmen Mezzo-soprano Ginger Costa-Jackson makes Company debut in signature role of Carmen Tenor Robert Watson sings Don José New production to San Diego Opera audiences San Diego, CA – Georges Bizet’s opera Carmen will close the 2018-2019 mainstage season. Carmen opens on Saturday, March 30, 2019 for four performances at the Civic Theatre. Additional performances are April 2, 5, and 7 (matinee), 2019. Bringing her signature role to San Diego Opera for her house debut is mezzo-soprano Ginger Costa-Jackson. The Los Angeles Times’ critic Mark Swed noted “Ginger Costa-Jackson, an exceptional young Sicilian American mezzo-soprano, brought a dangerous, animalistic vibrancy to the title role. There is a lusty yet somber quality to her strikingly dark mezzo, the ideal voice for Carmen.” She is joined by tenor Robert Watson, also in a Company debut, as Don José. Also in Company debuts are soprano Sarah Tucker as Micaëla and baritone Scott Conner as Escamillo. Rounding out the cast is bass Patrick Blackwell in his Company debut as Zuniga, soprano Tasha Koontz as Frasquita, mezzo-soprano Guadalupe Paz as Mercedes in her Company debut, tenor Felipe Prado in his house debut as Remendado, baritone Bernardo Bermudez as Dancairo, and baritone Brian Vu in a Company debut as Morales. Maestro Yves Abel, last heard conducting 2016’s Madama Butterfly, returns to lead these performances, and Kyle Lang, who made his directorial debut with 2017’s As One, returns to stage the action. -
Jacob Lassetter, Baritone
JACOB LASSETTER, BARITONE With his powerful voice and commanding stage presence, baritone Jacob Lassetter enjoys an exciting and vibrant career on both the operatic and concert stage. Critics have praised his dignified characterizations, his soaring high range, and his deep, rich tone quality. In June 2021 Mr. Lassetter is excited to make his role and company debut as Scarpia in Tosca with Marble City Opera. Earlier in the 2020–2021 season he sings a solo recital of British composers and benefit concerts for both Winter Opera Saint Louis and Union Avenue Opera. Mr. Lassetter was scheduled to make his role and company debut as the title role in Der fliegende Holländer with Mid Ohio Opera, as well as a return to Italy for performances of the title role in Elijah, as soloist for Mozart’s Mass in C Minor, and various other concerts. These engagements were all unfortunately cancelled due to COVID-19. In the 2019–2020 season Mr. Lassetter sang Sonora in La fanciulla del West with Winter Opera Saint Louis, and both Schubert’s Winterreise and Argento’s The Andrée Expedition in recital. In the 2018–2019 season he sang Dr. Falke in Die Fledermaus with Winter Opera Saint Louis, Carmina Burana with the Washington University Symphony Orchestra, Verdi’s Requiem and A Symphony of Toys with The Missouri Symphony, Dick Deadeye in H.M.S. Pinafore and Il Gran Sacerdote in Nabucco with Union Avenue Opera, and a series of three recitals with St. Louis Art Song. Opera audiences have recently seen Mr. Lassetter as Sharpless in Madama Butterfly with Annapolis Opera, Wolfram in Tannhäuser with Apotheosis Opera (New York City), Peter in Hänsel und Gretel with Union Avenue Opera, and Rodrigo in the world premiere of Borgia Infami with Winter Opera Saint Louis. -
La Bohème Opera in Four Acts Music by Giacomo Puccini Italian Libretto by Giuseppe Giacosa and Luigi Illica Afterscènes Da La Vie De Bohème by Henri Murger
____________________ The Indiana University Opera Theater presents as its 395th production La Bohème Opera in Four Acts Music by Giacomo Puccini Italian Libretto by Giuseppe Giacosa and Luigi Illica AfterScènes da la vie de Bohème by Henri Murger David Effron,Conductor Tito Capobianco, Stage Director C. David Higgins, Set Designer Barry Steele, Lighting Designer Sondra Nottingham, Wig and Make-up Designer Vasiliki Tsuova, Chorus Master Lisa Yozviak, Children’s Chorus Master Christian Capocaccia, Italian Diction Coach Words for Music, Supertitle Provider Victor DeRenzi, Supertitle Translator _______________ Musical Arts Center Friday Evening, November Ninth Saturday Evening, November Tenth Friday Evening, November Sixteenth Saturday Evening, November Seventeenth Eight O’Clock Two Hundred Eighty-Fourth Program of the 2007-08 Season music.indiana.edu Cast (in order of appearance) The four Bohemians: Rodolfo, a poet. Brian Arreola, Jason Wickson Marcello, a painter . Justin Moore, Kenneth Pereira Colline, a philosopher . Max Wier, Miroslaw Witkowski Schaunard, a musician . Adonis Abuyen, Mark Davies Benoit, their landlord . .Joseph “Bill” Kloppenburg, Chaz Nailor Mimi, a seamstress . Joanna Ruzsała, Jung Nan Yoon Two delivery boys . Nick Palmer, Evan James Snipes Parpignol, a toy vendor . Hong-Teak Lim Musetta, friend of Marcello . Rebecca Fay, Laura Waters Alcindoro, a state councilor . Joseph “Bill” Kloppenburg, Chaz Nailor Customs Guard . Nathan Brown Sergeant . .Cody Medina People of the Latin Quarter Vendors . Korey Gonzalez, Olivia Hairston, Wayne Hu, Kimberly Izzo, David Johnson, Daniel Lentz, William Lockhart, Cody Medina, Abigail Peters, Lauren Pickett, Shelley Ploss, Jerome Sibulo, Kris Simmons Middle Class . Jacqueline Brecheen, Molly Fetherston, Lawrence Galera, Chris Gobles, Jonathan Hilber, Kira McGirr, Justin Merrick, Kevin Necciai, Naomi Ruiz, Jason Thomas Elegant Ladies . -
|What to Expect from La Bohème
| What to Exp Ect from la bohème puccInI’S tImeless Story of Love amonG younG artistS In paris THE WORK can stake its claim as the world’s most popular opera. With all the joy and La Bohème sadness of romance, with comedy and tragedy, with scenes ranging from an opera in four acts, sung in Italian the intimate to the grand, La Bohème depicts the full scope of human experi- music by Giacomo puccini ence: wealth and poverty, art and commerce, deception and devotion. But Libretto by Giuseppe Giacosa and at the center of it are the small, often subtle, personal moments that make Luigi Illica, based on the novel Scènes up our everyday lives. de la Vie de bohème by henri murger In La Bohème, students will meet some of the most famous characters first performed on february 1, 1896 in opera—including Rodolfo, the writer; Marcello, the painter; delicate, in turin, Italy sensitive Mimì; and brassy, seductive Musetta. Puccini’s musical portrayal of the Parisian world of garrets, cafés, and nights of ribaldry remains vivid pROducTiOn more than a century after it was created, and his depictions ring true to this Stefano ranzani, conductor day. This guide is designed to help students appreciate both the sentiment franco Zeffirelli, production and the craft of La Bohème. With a variety of activities aimed at enhancing peter J. hall, costume Designer the experience of the Met’s Live in HD transmission, the guide will help Gil Wechsler, Lighting Designer young people connect not only with Puccini’s characters, setting, and music, but also discover some of the tricks of the composer’s trade. -
The Inventory of the Deborah Voigt Collection #1700
The Inventory of the Deborah Voigt Collection #1700 Howard Gotlieb Archival Research Center Voigt, Deborah #1700 6/29/05 Preliminary Listing I. Subject Files. Box 1 A Chronological files; includes printed material, photographs, memorabilia, professional material, other items. 1. 1987-1988. [F. 1] a. Mar. 1987; newsletters of The Riverside Opera Association, Verdi=s AUn Ballo in Maschera@ (role of Amelia). b. Apr. 1987; program from Honolulu Symphony (DV on p. 23). c. Nov. 1987; program of recital at Thorne Hall. d. Jan. 1988; program of Schwabacher Debut Recitals and review clippings from the San Francisco Examiner and an unknown newspaper. e. Mar. 1988; programs re: DeMunt=s ALa Monnaie@ and R. Strauss=s AElektra@ (role of Fünfte Magd). f. Apr. 1988; magazine of The Minnesota Orchestra Showcase, program for R. Wagner=s ADas Rheingold@ (role of Wellgunde; DV on pp. 19, 21), and review clippings from the Star Tribune and the St. Paul Pioneer Press Dispatch. g. Sep. - Oct. 1988; programs re: Opera Company of Philadelphia and the International Voice Competition (finalist competition 3; DV on p. 18), and newspaper clippings. 2. 1989. [F. 2] a. DV=s itineraries. (i) For Jan. 4 - Feb. 9, TS. (ii) For the Johann Strauss Orchestra on Vienna, Jan. 5 - Jan. 30, TS, 7 p. b. Items re: California State, Fullerton recital. (i) Copy of Daily Star Progress clipping, 2/10/89. (ii) Compendium of California State, Fullerton, 2/13/89. (iii) Newspaper clipping, preview, n.d. (iv) Orange County Register preview, 2/25/89. (v) Recital flyer, 2/25/89. (vi) Recital program, program notes, 2/25/89. -
Dear Opera Lovers, Winter Opera Saint Louis
Dear Opera Lovers, inter Opera Saint Louis is excited to enter into our 12th season! We would Wnot be here without the support and generosity of our patrons. Thank you to this year’s sponsors: Nancy Pillsbury, Mary Pillsbury, The Regional Arts Commission, and the The Student Prince • 2017 Missouri Arts Council — we are humbled by your kindness and generosity. We are thrilled that our production of L’Italiana in Algeri will be performed at Missouri Baptist University’s Pillsbury Chapel, in collaboration with the University’s music department. Les Pêcheurs de Perles • 2018 We look forward to seeing you at the opera. Many thanks for your patronage! Sincerely, L’Elisir d’Amore • 2018 Gina Galati Please consider supporting Winter Opera with a tax-deductible contribution. Any amount is greatly appreciated and helps support local artists! Amici $50–$99 *The Impresario Club is an exclusive Listed as a donor club for donors of $2,500 or more. Coro $100–$349 in the program An Impresario is a patron who Comprimario $350–$499 understands the importance of the arts and is a major financier and Lirico $500–$999 2 tickets in supporter. We could not maintain Section I & donor listing our season without you! Dramatico $1,000– 4 tickets in In addition to the benefits listed in $2,499 Section I & the chart, you get: donor listing • First choice of seating Impresario* $2,500– 2 tickets to Fall $4,999 Gala, 4 tickets in • Drink vouchers Section I, & • Private concert to donor listing entertain your guests Spinto* $5,000– 2 tickets to Fall • Invitations to -
Rent Glossary of Terms
Rent Glossary of Terms 11th Street and Avenue B CBGB’s – More properly CBGB & OMFUG, a club on Bowery Ave between 1st and 2nd streets. The following is taken from the website http://www.cbgb.com. It is a history written by Hilly Kristal, the founder of CBGB and OMFUG. The question most often asked of me is, "What does CBGB stand for?" I reply, "It stands for the kind of music I intended to have, but not the kind that we became famous for: COUNTRY BLUEGRASS BLUES." The next question is always, "but what does OMFUG stand for?" and I say "That's more of what we do, It means OTHER MUSIC FOR UPLIFTING GORMANDIZERS." And what is a gormandizer? It’s a voracious eater of, in this case, MUSIC. […] The obvious follow up question is often "is this your favorite kind of music?" No!!! I've always liked all kinds but half the radio stations all over the U.S. were playing country music, cool juke boxes were playing blues and bluegrass as well as folk and country. Also, a lot of my artist/writer friends were always going off to some fiddlers convention (bluegrass concert) or blues and folk festivals. So I thought it would be a whole lot of fun to have my own club with all this kind of music playing there. Unfortunately—or perhaps FORTUNATELY—things didn't work out quite the way I 'd expected. That first year was an exercise in persistence and a trial in patience. My determination to book only musicians who played their own music instead of copying others, was indomitable. -
2017 Convention Schedule
WEDNESDAY, JANUARY 4 2:00PM – 5:00PM Board of Directors Meeting Anacapa 6:00PM - 9:00PM Pre-Conference Dinner & Wine Tasting Villa Wine Bar 618 Anacapa Street, Santa Barbara 7:00PM – 10:00PM Opera Scenes Competition Rehearsal Grand Ballroom THURSDAY, JANUARY 5 8:00AM – 5:00PM Registration Grand Foyer 9:00AM – 5:00PM EXHIBITS Grand Foyer 9:00AM – 9:30AM MORNING COFFEE Grand Foyer Sponsored by the University of Colorado at Boulder College of Music 9:30AM-10:45AM Sierra Madre The 21st Century Way: Redefining the Opera Workshop Justin John Moniz, Florida State University Training programs have begun to include repertoire across varying genres in order to better equip young artists for prosperous careers in today’s evolving operatic canon. This session will address specific acting and movement methods geared to better serve our current training modules, offering new ideas and fresh perspectives to help redefine singer training in the 21st century. Panelists include: Scott Skiba, Director of Opera, Baldwin Wallace Conservatory; Carleen Graham, Director of HGOco, Houston Grand Opera; James Marvel, Director of Opera, University of Tennessee-Knoxville; Copeland Woodruff, Director of Opera Studies, Lawrence University. 11:00AM-12:45PM Opening Ceremonies & Luncheon Plaza del Sol Keynote Speaker: Kostis Protopapas, Artistic Director, Opera Santa Barbara 1:00PM-2:15PM The Janus Face of Contemporary American Opera Sierra Madre Barbara Clark, Shepherd School of Music, Rice University The advent of the 21st century has proven fertile ground for the composition