Composer Jonathan Dove Libretto by David
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Belarus Free Theatre Opens up Its Digital Archive to Share 24 Theatrical Productions from the Past 15 Years
FOR IMMEDIATE RELEASE: Thursday 2 April 2020 BELARUS FREE THEATRE OPENS UP ITS DIGITAL ARCHIVE TO SHARE 24 THEATRICAL PRODUCTIONS FROM THE PAST 15 YEARS WILL ATTENBOROUGH, STEPHEN FRY, ANDREI KHLYVNIUK, DAVID LAN, JULIET STEVENSON & SAM WEST JOIN NEW FAIRY-TALE-INSPIRED CAMPAIGN #LOVEOVERVIRUS 2020 marks the 15th anniversary of Belarus Free Theatre (BFT), the foremost refugee-led theatre company in the UK and the only theatre in Europe banned by its government on political grounds. Ahead of the announcement of the full programme of BFT’s 15th anniversary celebrations, and in response to the coronavirus pandemic, the company will open up its digital archive to make 24 acclaimed stage productions free to watch online, alongside the launch of a new fairy-tale-inspired campaign: #LoveOverVirus 15 YEARS OF THEATRICAL HIGHLIGHTS FREE TO WATCH ONLINE Belarus Free Theatre began 15 years ago this week – on 30 March 2005 – in Minsk under Europe's last surviving dictatorship. Since 2011, the company has been based between Minsk and London where its co-founding Artistic Directors, Natalia Kaliada and Nicolai Khalezin, are political refugees in the UK. New productions are created and rehearsed over Skype before premiering in continually changing underground locations in and around Minsk. Over the past decade, BFT has - through necessity - pioneered creating award-winning theatre at distance and will now share a raft of its theatrical highlights with audiences online at a time when more than a third of the world’s population is adapting to daily life under lockdown. Beginning this Saturday (4 April), and continuing each weekend for the next three months, 24 productions will be made available to watch online on BFT’s YouTube channel: https://www.youtube.com/c/BelarusFreeTheatre Each production listed below will air on the date indicated at 8pm GMT and will be available to watch for the following 24 hours. -
Daniel Purcell the Judgment of Paris
Daniel Purcell The Judgment of Paris Anna Dennis • Amy Freston • Ciara Hendrick • Samuel Boden • Ashley Riches Rodolfus Choir • Spiritato! • Julian Perkins RES10128 Daniel Purcell (c.1664-1717) 1. Symphony [5:40] The Judgment of Paris 2. Mercury: From High Olympus and the Realms Above [4:26] 3. Paris: Symphony for Hoboys to Paris [2:31] 4. Paris: Wherefore dost thou seek [1:26] Venus – Goddess of Love Anna Dennis 5. Mercury: Symphony for Violins (This Radiant fruit behold) [2:12] Amy Freston Pallas – Goddess of War 6. Symphony for Paris [1:46] Ciara Hendricks Juno – Goddess of Marriage Samuel Boden Paris – a shepherd 7. Paris: O Ravishing Delight – Help me Hermes [5:33] Ashley Riches Mercury – Messenger of the Gods 8. Mercury: Symphony for Violins (Fear not Mortal) [2:39] Rodolfus Choir 9. Mercury, Paris & Chorus: Happy thou of Human Race [1:36] Spiritato! 10. Symphony for Juno – Saturnia, Wife of Thundering Jove [2:14] Julian Perkins director 11. Trumpet Sonata for Pallas [2:45] 12. Pallas: This way Mortal, bend thy Eyes [1:49] 13. Venus: Symphony of Fluts for Venus [4:12] 14. Venus, Pallas & Juno: Hither turn thee gentle Swain [1:09] 15. Symphony of all [1:38] 16. Paris: Distracted I turn [1:51] 17. Juno: Symphony for Violins for Juno [1:40] (Let Ambition fire thy Mind) 18. Juno: Let not Toyls of Empire fright [2:17] 19. Chorus: Let Ambition fire thy Mind [0:49] 20. Pallas: Awake, awake! [1:51] 21. Trumpet Flourish – Hark! Hark! The Glorious Voice of War [2:32] 22. -
Commissioned Orchestral Version of Jonathan Dove’S Mansfield Park, Commemorating the 200Th Anniversary of the Death of Jane Austen
The Grange Festival announces the world premiere of a specially- commissioned orchestral version of Jonathan Dove’s Mansfield Park, commemorating the 200th anniversary of the death of Jane Austen Saturday 16 and Sunday 17 September 2017 The Grange Festival’s Artistic Director Michael Chance is delighted to announce the world premiere staging of a new orchestral version of Mansfield Park, the critically-acclaimed chamber opera by composer Jonathan Dove and librettist Alasdair Middleton, in September 2017. This production of Mansfield Park puts down a firm marker for The Grange Festival’s desire to extend its work outside the festival season. The Grange Festival’s inaugural summer season, 7 June-9 July 2017, includes brand new productions of Monteverdi’s Il ritorno d'Ulisse in patria, Bizet’s Carmen, Britten’s Albert Herring, as well as a performance of Verdi’s Requiem and an evening devoted to the music of Rodgers & Hammerstein and Rodgers & Hart with the John Wilson Orchestra. Mansfield Park, in September, is a welcome addition to the year, and the first world premiere of specially-commissioned work to take place at The Grange. This newly-orchestrated version of Mansfield Park was commissioned from Jonathan Dove by The Grange Festival to celebrate the serendipity of two significant milestones for Hampshire occurring in 2017: the 200th anniversary of the death of Austen, and the inaugural season of The Grange Festival in the heart of the county with what promises to be a highly entertaining musical staging of one of her best-loved novels. Mansfield Park was originally written by Jonathan Dove to a libretto by Alasdair Middleton based on the novel by Jane Austen for a cast of ten singers with four hands at a single piano. -
Peter Barnes and the Nature of Authority
PETER BARNES AND THE NATURE OF AUTHORITY Liorah Anrie Golomb A thesis subnitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Centre for Study of Drarna in the University of Toronto @copyright by Liorah Anne Golomb 1998 National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliagraphiques 395 Wellington Street 395, nie Wellington OttawaON K1AW Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à fa National Libmy of Canada to Bibliothèque nationale du Canada de reproduce, loaq distriiute or sell reproduire, prêter, distri'buer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. PETER BARNES AND THE NATURE OF AUTHORITY Liorah Anne Golomb Doctor of Philosophy, 1998 Graduate Centre for Study of Drama University of Toronto Peter Barnes, among the most theatrically-minded playwrights of the non-musical stage in England today, makes use of virtually every elernent of theatre: spectacle, music, dance, heightened speech, etc- He is daring, ambitious, and not always successful. -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
Demarcating Dramaturgy
Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement. -
Download February 2021
ALWAYS Mendocino Coast's FREE Lighthouse February 2021 Peddler The Best Original Writing, plus the Guide to Art, Music, Events, Theater, Film, Books, Poetry and Life on the Coast ValentinesValentines DayDay ArtArt toto Enjoy,Enjoy, 22 GalleriesGalleries toto VisitVisit We’re blessed here on the coast with a world of art that surrounds us. We can take a look at the art, spend a li!le time gazing upon it, read something into it or just enjoy the moment. "is month two of our local galleries will have new exhibits and both are worth a look. So we’ve planned a day for you. Start your day in Gualala at the Dolphin Gallery for their new opening “Hearts for the Arts. "en take an easy 15 minute drive north to Point Arena for a stop at the Coast Highway art Collective where members of the collective will present Valentines Art. And don’t forget to look at the ocean as you drive between the two galleries. Both galleries will welcome you, and you will be assured a delightful day. At the Dolphin Gallery the new exhibit, “Hearts for the Arts”, brings together three artists: Jane Head’s focus on clay, Walt Rush’s on jewels, and Leslie Moody Cresswell’s glass. Cont'd on Page 12 Coast Highway Art Collective in February • Valentines Art and Poetry Meet February 6 By Rozann Grunig !e members of the Coast Highway Art mechanically adept artist mother” and her Council to deliver creative arts instruction Collective are hosting their "rst opening “gregarious, disordered, audacious poet fa- in K-12 classrooms around the Northern reception of 2021 on Saturday, February 6 ther,” she says. -
A Study of the Royal Court Young Peoples’ Theatre and Its Development Into the Young Writers’ Programme
Building the Engine Room: A Study of the Royal Court Young Peoples’ Theatre and its Development into the Young Writers’ Programme N O Holden Doctor of Philosophy 2018 Building the Engine Room: A Study of the Royal Court’s Young Peoples’ Theatre and its Development into the Young Writers’ Programme Nicholas Oliver Holden, MA, AKC A thesis submitted in partial fulfilment of the requirements of the University of Lincoln for the degree of Doctor of Philosophy School of Fine and Performing Arts College of Arts March 2018 2 DECLARATION I declare that this thesis is my own work and has not been submitted in substantially the same form for a higher degree elsewhere. 3 Acknowledgements First and foremost, I would like to thank my supervisors: Dr Jacqueline Bolton and Dr James Hudson, who have been there with advice even before this PhD began. I am forever grateful for your support, feedback, knowledge and guidance not just as my PhD supervisors, but as colleagues and, now, friends. Heartfelt thanks to my Director of Studies, Professor Mark O’Thomas, who has been a constant source of support and encouragement from my years as an undergraduate student to now as an early career academic. To Professor Dominic Symonds, who took on the role of my Director of Studies in the final year; thank you for being so generous with your thoughts and extensive knowledge, and for helping to bring new perspectives to my work. My gratitude also to the University of Lincoln and the School of Fine and Performing Arts for their generous studentship, without which this PhD would not have been possible. -
A Festival of Nine Lessons and Carols 2019
KING’S COLLEGE CHAPEL A FESTIVAL OF NINE LESSONS AND CAROLS Christmas Eve 2019 at 3 pm Welcome to this special service. We are very grateful to you for coming to share with us in this great occasion, which is an act of worship for us here in Chapel as well as for the millions who will join us around the world. Before the service begins, please note the following requests: To a radio audience, coughing is a particular distraction, much more so than to others in the Chapel. You are therefore asked to keep any such sounds to an absolute minimum. Please double-check that your mobile phone is turned off. The same applies to chiming watches or other devices which are likely to be heard by sensitive microphones. Please put your contribution to the collection, which goes to support the work of the Chapel, in the Gift Aid envelope that you will find in this order of service, and add it, duly completed, to the collection as you leave. In the unlikely event of an emergency requiring us to evacuate the Chapel please follow the directions of the stewards, and remain as quiet and calm as possible. Finally, I would like to wish you a very Happy Christmas and invite you to join us for any of our choral services in the future, in particular our Sung Eucharist with Carols at 11 am on Christmas Day. The Revd Dr Stephen Cherry, Dean A BRIEF HISTORY OF THE SERVICE A Festival of Nine Lessons and Carols was first held at King’s on Christmas Eve 1918. -
Boston Symphony Orchestra Concert Programs, Summer, 1993
a«apB««t6«ii«giiiflmaii! iiaH«:^aatta«li'i|iaHpsjili«2liii«iw;ilo^ .^ 7oo/i ofExcellence '- 4? In every discipline, ,% '*% outstanding performance springs ?•*{. from the combination of skill, A^^^'" <^^ vision and commitment. t.%^ As a technology leader, GE Plastics is dedicated to the development of advanced materials: <k engineering thermoplastics, silicones, superabrasives and circuit board substrates. Like the lively arts that thrive in this inspiring environment, we enrich life's quality through creative excellence. GE Plastics Seiji Ozawa, Music Director One Hundred and Eleventh Season, 1992-93 Trustees of the Boston Symphony Orchestra, Inc. P. Barger, Chairman George H. Kidder, President J. Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T. Zervas, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B.Arnold, Jr. Nina L. Doggett R. Willis Leith, Jr. Peter A. Brooke Dean Freed Mrs. August R. Meyer James F. Cleary Avram J. Goldberg Molly Beals Millman John F. Cogan,Jr. Thelma E. Goldberg Mrs. Robert B. Newman Julian Cohen Julian T. Houston Peter C. Read William F. Connell Mrs. BelaT. Kalman Richard A. Smith William M. Crozier, Jr. Allen Z. Kluchman Ray Stata Deborah B. Davis Harvey Chet Krentzman Trustees Emeriti Vernon R. Alden Archie G. Epps Irving W. Rabb Philip K.Allen Mrs. Harris Fahnestock Mrs. George R. Rowland Allen G. Barry Mrs. John L. Grandin Mrs. George Lee Sargent I>eo L. Beranek Mrs. George I. Kaplan Sidney Stoneman Mrs. John M. Bradley Albert L. Nickerson John Hoyt Stookey Abram T Gollier Thomas D. Perry, Jr. John L. Thorndike Nelson J. -
Integrales Discográficas De Las Sinfonías De Gustav Mahler
MAHLER INTEGRALES DISCOGRÁFICAS DE LAS SINFONÍAS DE GUSTAV MAHLER Índice de contenidos Página Policarbonato y maheriana — Integrales: 03 Integrales de un director y una orquesta: 06 Integrales de un director y más de una orquesta: 54 Integrales de más de un director y una orquesta: 72 Integrales de más de un director y más de una 78 orquesta: Policarbonato y mahleriana su música no sonó en Alemania ni en prácticamente todos los territorios que había anexionado el nazismo. Pocos eran los directores, de la generación que dominó Iniciada la década de los años 60 del siglo XX, había la primera mitad del siglo XX, que verdaderamente creían transcurrido medio siglo desde el fallecimiento de Gustav en su obra. Destacan los casos del Willem Mengelberg, Mahler; cincuenta años en los que el mundo de la Bruno Walter y Otto Klemperer. El primero de ellos logró fonografía, y paralelamente a esta las salas de concierto, en Amsterdam, como director titular de dedicaban aún una exigua —relativa— o nula presencia la Concertgebouworkest, que la ciudad desarrollase una de la obra de Mahler. A lo largo de esa década ese singular y profunda tradición mahleriana. Los otros dos parcial oscurantismo iba a llegar a su fin; el nombrado directores, judíos alemanes ambos, siempre fueron fieles a “boom Mahler" incrementó la presencia, en todos los la obra de su mentor; tanto en Europa, durante los años ámbitos, de la obra del compositor bohemio, que llevaron que pudieron interpretarla, como en su forzado exilio en desde aquellas fechas hasta nuestros días, pocos años los Estados Unidos, principalmente. -
LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the City with Song!
LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the city with song! Festival Programme 2009 The Grammar School at Leeds inspiring individuals is pleased to support the Leeds Lieder+ Festival Our pupils aren’t just pupils. singers, They’re also actors, musicians, stagehands, light & sound technicians, comedians, , impressionists, producers, graphic artists, playwrightsbox office managers… ...sometimes they even sit exams! www.gsal.org.uk For admissions please call 0113 228 5121 Come along and see for yourself... or email [email protected] OPENING MORNING Saturday 17 October 9am - 12noon LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Biennial Festival of Art Song Artistic Director Julius Drake 3 Lord Harewood Elly Ameling If you, like me, have collected old gramophone records from Dear Friends of Leeds Lieder+ the time you were at school, you will undoubtedly have a large I am sure that you will have a great experience listening to this number of Lieder performances amongst them. Each one year’s rich choice of concerts and classes. It has become a is subtly different from its neighbour and that is part of the certainty! attraction. I know what I miss: alas, circumstances at home prevent me The same will be apparent in the performances which you this time from being with you and from nourishing my soul with will hear under the banner of Leeds Lieder+ and I hope this the music in Leeds. variety continues to give you the same sort of pleasure as Lieder singing always has in the past. I feel pretty sure that it To the musicians and to the audience as well I would like to will and that if you have any luck the memorable will become repeat the words that the old Josef Krips said to me right indistinguishable from the category of ‘great’.