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2012 02 20 Programme Booklet FIN
COMPOSITION - EXPERIMENT - TRADITION: An experimental tradition. A compositional experiment. A traditional composition. An experimental composition. A traditional experiment. A compositional tradition. Orpheus Research Centre in Music [ORCiM] 22-23 February 2012, Orpheus Institute, Ghent Belgium The fourth International ORCiM Seminar organised at the Orpheus Institute offers an opportunity for an international group of contributors to explore specific aspects of ORCiM's research focus: Artistic Experimentation in Music. The theme of the conference is: Composition – Experiment – Tradition. This two-day international seminar aims at exploring the complex role of experimentation in the context of compositional practice and the artistic possibilities that its different approaches yield for practitioners and audiences. How these practices inform, or are informed by, historical, cultural, material and geographical contexts will be a recurring theme of this seminar. The seminar is particularly directed at composers and music practitioners working in areas of research linked to artistic experimentation. Organising Committee ORCiM Seminar 2012: William Brooks (U.K.), Kathleen Coessens (Belgium), Stefan Östersjö (Sweden), Juan Parra (Chile/Belgium) Orpheus Research Centre in Music [ORCiM] The Orpheus Research Centre in Music is based at the Orpheus Institute in Ghent, Belgium. ORCiM's mission is to produce and promote the highest quality research into music, and in particular into the processes of music- making and our understanding of them. ORCiM -
Metropolitan Opera 19-20 Season Press Release
Updated: November 12, 2019 New Productions of Porgy and Bess, Der Fliegende Holländer, and Wozzeck, and Met Premieres of Agrippina and Akhnaten Headline the Metropolitan Opera’s 2019–20 Season Yannick Nézet-Séguin, in his second season as Music Director, conducts the new William Kentridge production of Wozzeck, as well as two revivals, Met Orchestra concerts at Carnegie Hall, and a New Year’s Eve Puccini Gala starring Anna Netrebko Sunday matinee performances are offered for the first time From Roberto Alagna to Sonya Yoncheva, favorite Met singers return Debuting conductors are Karen Kamensek, Antonello Manacorda, and Vasily Petrenko; returning maestros include Valery Gergiev and Sir Simon Rattle New York, NY (February 20, 2019)—The Metropolitan Opera today announced its 2019–20 season, which opens on September 23 with a new production of the Gershwins’ classic American opera Porgy and Bess, last performed at the Met in 1990, starring Eric Owens and Angel Blue, directed by James Robinson and conducted by David Robertson. Philip Glass’s Akhnaten receives its Met premiere with Anthony Roth Costanzo as the title pharaoh and J’Nai Bridges as Nefertiti, in a celebrated staging by Phelim McDermott and conducted by Karen Kamensek in her Met debut. Acclaimed visual artist and stage director William Kentridge directs a new production of Berg’s Wozzeck, starring Peter Mattei and Elza van den Heever, and led by the Met’s Jeanette Lerman-Neubauer Music Director Yannick Nézet-Séguin. In another Met premiere, Sir David McVicar stages the black comedy of Handel’s Agrippina, starring Joyce DiDonato as the conniving empress with Harry Bicket on the podium. -
You Didn't Build That Teepee!
Trump Talks Parenting & Politics The Guns of August at 100 Do Botched Executions Matter? UKIP Triumphs! JEFFREY LORD PETER HITCHENS JESSE WALKER vs. WILLIAM TUCKER JAMES DELINGPOLE JULY/AUGUST 2014 A MONTHLY REVIEW EDITED BY R. EMMETT TYRRELL, JR. You Didn’t Build That Teepee! Elizabeth Warren arouses the worst progressive fantasies. By Ira Stoll PLUS: Summer Books and Cocktails James Taranto, Jonathan Tobin, Freddy Gray, Helen Rittelmeyer, Eve Tushnet, Daniel Foster, Katherine Mangu-Ward…and more! Ukraine: A River Runs Through It Matthew Omolesky Schlesinger’s Excellent Bow Tie R.J. Stove Why I Quit Batman Tim Cavanaugh 1 5 1 5 1 5 1 5 25 50 75 95 25 50 75 95 25 50 75 95 25 50 75 95 100 100 100 100 “ The best detector is not merely the one that can pick up radar from the farthest distance, although the Valentine One continues to score best.” — Autoweek Now V1 comes to a touchscreen near you. Introducing the Threat Picture You can see the arrows at work on your compatible iPhone® or AndroidTM device. Check it out… The app is free! Yo u can download V1connection, the app Where’s the radar? It’s in the Box. for free. Go to the app store on your device. When installed, the app automatically runs in Demo Mode. No need to link to V1. Analyze preloaded threat situations on three different screens: on the V1 screen, Arrow in the Box means a threat in the radar zone. on Picture, and on List. Then when you’re ready to put the Threat Picture on duty in your car, order the Bluetooth® communication module directly from us. -
Mcewen Concert Programme 2020
5 March 2020 McEwen Memorial Concert of Scottish Chamber Music Thursday 5 March, 2020 1.10pm University Concert Hall Nanhai Piano Trio Gongbo Jiang (violin), Robert Anderson (cello), and Gordon Bragg (piano) David Horne Reflecting Instruments* *Commissioned by the Court of the University of Glasgow under the terms of the McEwen Bequest. Additional funding towards today’s performance has been provided by the Ferguson Bequest. While I have a large number of chamber works including four string quartets, a piano quartet and two piano quintets, this is the first work I have composed for Piano Trio. It is fair to say that the wonderful Piano Trio by Maurice Ravel has always been inspirational to me, including as a pianist when I performed the work many times. While there are no direct allusions to that great work, I was motivated to explore a wide range of colour and textures in my own piece, with the trio frequently coalescing and separating texturally. As the title suggests, there is a great deal of interplay between the timbres of the various instruments and how they interplay, indeed reflect each other. From the outset the piano seems to echo and even resonate the sounds of the strings, though as the work progresses this relationship often reverses, with the strings emulating the harmonics of the piano, its pedalling and resonance. There is another aspect of the music’s language which will not be apparent to the listener but is worth noting. In much of my work I am fascinated by the nature of instruments and how their own idioms often inspire and lead musical ideas. -
Season Premiere of Tosca Glitters
2019–20 Season Repertory and Casting Casting as of November 12, 2019 *Met debut The Gershwins’ Porgy and Bess By George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin New Production Sep 23, 27, 30, Oct 5mat, 10, 13mat, 16, Jan 8, 11, 15, 18, 24, 28, Feb 1mat Conductor: David Robertson Bess: Angel Blue/Elizabeth Llewellyn* Clara: Golda Schultz/Janai Brugger Serena: Latonia Moore Maria: Denyce Graves Sportin’ Life: Frederick Ballentine* Porgy: Eric Owens/Kevin Short Crown: Alfred Walker Jake: Ryan Speedo Green/Donovan Singletary Production: James Robinson* Set Designer: Michael Yeargan Costume Designer: Catherine Zuber Lighting Designer: Donald Holder Projection Designer: Luke Halls The worldwide copyrights in the works of George Gershwin and Ira Gershwin for this presentation are licensed by the Gershwin family. GERSHWIN is a registered trademark of Gershwin Enterprises. Porgy and Bess is a registered trademark of Porgy and Bess Enterprises. A co-production of the Metropolitan Opera; Dutch National Opera, Amsterdam; and English National Opera Production a gift of The Sybil B. Harrington Endowment Fund Additional funding from Douglas Dockery Thomas Manon Jules Massenet Sep 24, 28mat, Oct 2, 5, 19, 22, 26mat ____________________________________________________________________________________________________________ PRESS DEPARTMENT The Metropolitan Opera Press: 212.870.7457 [email protected] 30 Lincoln Center Plaza General: 212.799.3100 metopera.org New York, NY 10023 Fax: 212.870.7606 Conductor: Maurizio Benini Manon: Lisette Oropesa Chevalier des Grieux: Michael Fabiano Guillot de Morfontaine: Carlo Bosi Lescaut: Artur Ruciński de Brétigny: Brett Polegato* Comte des Grieux: Kwangchul Youn Production: Laurent Pelly Set Designer: Chantal Thomas Costume Designer: Laurent Pelly Lighting Designer: Joël Adam Choreographer: Lionel Hoche Associate Director: Christian Räth A co-production of the Metropolitan Opera; Royal Opera House, Covent Garden, London; Teatro alla Scala, Milan; and Théâtre du Capitole de Toulouse Production a gift of The Sybil B. -
“Can't Help Singing”: the “Modern” Opera Diva In
“CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location. -
Avant Première Catalogue 2017
Avant PreCATALOGUEmi ère 2017 UNITEL is one of the world's leading producers of classical music programmes for film, television, video and new media. Based on exclusive relationships with outstanding artists and institutions like Herbert von Karajan, Leonard Bernstein, the Salzburg Festival and many others, the UNITEL catalogue of more than 1700 titles presents some of the greatest achievements in the last half a century of classical music. Search the complete UNITEL catalogue online at www.unitel.de Front cover: Elīna Garanča in G. Donizetti's “La Favorite” / Photo: Wilfried Hösl UNITEL AVANT PREMIÈRE CATALOGUE 2017 Editorial Team: Konrad von Soden, Franziska Pascher Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: 31st of January 2017 ∙ © Unitel 2017 ∙ All Rights reserved FOR COPRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching / Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas -
Mark Simpson
MARK SIMPSON PRISM Mark Simpson clarinet and basset clarinet Ian Buckle piano Music by Gary Carpenter • Kenneth Hesketh • Gavin Higgins David Horne • Emily Howard • Patrick Nunn • Stephen Pratt Mark Simpson • Mark-Anthony Turnage 1 GARY CARPENTER MARKING TIME 8’36 PRISM for basset clarinet and piano Mark Simpson clarinet and basset clarinet 2 KENNETH HESKETH POINT FORMS (after Kandinsky) 11’35 Ian Buckle piano for basset clarinet and piano GAVIN HIGGINS THREE BROKEN LOVE SONGS 12’24 for basset clarinet and piano 3 ‘...Two bottles of wine later...’ 4’18 4 ‘Three’s a crowd’ 3’57 5 Love Hurts 4’09 6 EMILY HOWARD MASQUERADE 6’03 for basset clarinet and piano 7 DAVID HORNE CHIME 9’40 for basset clarinet and piano 8 PATRICK NUNN PRISM 8’27 for basset clarinet and piano STEPHEN PRATT SHORT SCORE 10’04 for clarinet and piano 9 I 3’01 10 II Playful, fast! 1’28 11 III 3’36 12 IV With abandon! 1’59 13 MARK SIMPSON LOV(ESCAPE) 3’42 for clarinet and piano 14 MARK-ANTHONY TURNAGE CRADLE SONG 3’28 for clarinet and piano Total timing 74’51 3 Photo: David Lefeber PRISM: WORKS FOR CLARINET AND BASSET CLARINET NOTE BY MARK SIMPSON The basset clarinet came into existence through the collaboration between players and musicologists rediscovering the original form of the Mozart Anton Stadler and Austrian clarinet maker Theodor Lotz. Together they Concerto for basset clarinet. In England, Alan Hacker – founder member of worked on a number of variations which extended the clarinet’s range by a the Fires of London – was at the forefront of this renaissance, with Antony major third to written low C (concert A below the C below middle C) though Pay. -
Private Musiksammlung Archiv CD/DVD
Private Musiksammlung Aktualisierung am: 04.09.15 Archiv CD/DVD - Oper Sortierung nach: in CD - mp3 / DVD - MEGP- Formaten 1. Komponisten 2. Werk-Nummer (op.Zahl etc) TA und TR: Daten sind bei „alne“ vorhanden 3. Aufnahmejahr Auskünfte über Mail [email protected] Diese Datei erreichen Sie unter: T und TR: Daten sind bei „EO“ vorhanden http://www.euro-opera.de/T-TA-TR.pdf Auskünfte über Mail in Kürze auch unter: [email protected] http://www.cloud-de.de/~Alne_Musik/ Sacchini Sacchini L'Isola d'amore - 1980 Wiesbaden Lella Cuberli - Roestta Pizzo - Ignazio Daniel Chorzempa O - hr-klassik Claves - Alan Opie - - - - - - 308,01 Antonio Maria Gaspare - Sacchini (1730 - 1786) - Die Insel der Liebe Cappella coloniensis 14.02.2004 - Oper 22 - cda402 T- VHS-Audi 2 CD o Sacchini Oedipe à Colone - 2004 Dijon Manon Feubel - Fabrice Mantegna - Jean-Paul Penin O - 05.06.2004 Auditorium Daniel Galvez-Vallejo - Sviatoslav 993,01 Antonio Maria Gaspare - Smirnov - Raphaëlle Farman - Sacchini (1730 - 1786) - Ödipus auf Kolonos Orchestre de la 20.08.2007 - Géraldine Casey - Jacques Gay - - - Camerata de Oper 46 - cda708 T- Dok 486 2 CD Sacchini EDIPO À COLONE - 2004 Dijon - - - - - - - - - n O - 05.06.2004 Antonio Maria Gaspare - Sacchini (1730 - 1786) - 01.01.1900 - Oper 46 - cda1411 TA-an Manon Feubel, Fabrice Mantegna, Daniel Galvez-Vallejo, Sviatoslav Smirnov, Jean-Paul Penin A Raphaëlle Farman, Géraldine Casey, Jacques Gay. alne 2 CD Sacchini Oedipe à Colone - 2005 Nathalie Paulin - Robert Getchell - n O - Stephansdom Tony Boutté - Francois Loup - Kirsten Antonio Maria Gaspare - Blaise - Kara Morgan - Jonathan Sacchini (1730 - 1786) - Ödipus auf Kolonos Opera Lafayette 07.06.2012 - Kimple - - - Orchestra and Chorus Oper 46 - cda1206 T- Int-A2/mp CD 3 0 Saint-Saëns Samson et Dalila - 1956 Stockholm Blanche Thebom - Set Svanholm - Herbert Sandberg O - 04.09.1956 Concertzender Sigurd Björling - - - - - - - Camille Saint-Saëns - (1835 - 1921) - 2. -
Century Operas on Vocal Pedagogy
ABSTRACT Title of Dissertation: THE IMPACT OF GENRE FUSION AND IMPROVISATIONAL ELEMENTS IN 21ST- CENTURY OPERAS ON VOCAL PEDAGOGY AND PERFORMANCE PRACTICE Sequina DuBose, Doctor of Musical Arts, 2019 Dissertation directed by: Professor Carmen Balthrop, Chair, Voice/Opera Division School of Music In the 21st century, opera composers are expanding beyond traditional boundaries by incorporating improvisatory elements and musical style elements from non-classical genres. The purpose of this study is to point to the impact these trends will have on vocal pedagogy and performance practice. The opening chapters of the dissertation provide historical context by examining the role of improvisation in the Baroque era and beyond, along with details concerning key shifts in audience culture, vocal aesthetic and performance practice throughout history. Chapter two also incorporates narratives from key industry practitioners, voice pedagogue Dr. Rachelle Fleming, and American Opera Projects Artistic Director, Mila Henry. Chapter three consists of a discussion of the research methodology and the key researchers and methodologists that influenced the study. This study is a narrative inquiry that employs an analysis of narrative approach and paradigmatic reasoning in its analysis, inducing themes and relationships between the concepts that reveal themselves in the data and literature. Chapter four includes narrative research and analysis based on interviews that have been conducted with composers and singers from four innovative operas: Charlie Parker’s Yardbird (Daniel Schynder), I Dream: A Rhythm and Blues Opera (Douglas Tappin), Blue Viola (Peter Hilliard), and The Mile-Long Opera: a biography of 7 o’clock (David Lang; the composer intentionally uses lowercase script in the titles of his works). -
Composer Brochure | Works
Book 3.indb 2 John ADAMS ElliottCARTER 9/5/2008 12:08:42 PM John Adams Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 16 Chamber Orchestra 20 Solo Instrument(s) and Orchestra 21 TABLE OF CONTENTS TABLE Voice(s) and Orchestra 22 Ensemble and Chamber with out Voice(s) 23 Piano(s) 26 Instrumental 26 Miscellaneous 27 Arrangements 27 Recordings 29 Chronological List of Works 32 Boosey & Hawkes Addresses 34 Composer List Cover photo: Deborah O'Grady Book 3.indb 3 9/5/2008 12:08:42 PM The Music of John Adams ON I The strains of his grandfather’s lakeside New England dance hall were among the earliest layers of John Adams’s aural CT memory. So too were the marching bands in which he played clarinet as a young student. Learning the basic European DU canon in front of the family Magnavox, Adams readily O assimilated it alongside the crazy quilt of American vernacular R music he encountered in the early postwar decades. Duke Ellington is a recurrent inspiration, and Adams’s love of jazz— which returns in unexpected forms, such as the improvisatory NT I “hypermelody” of the Violin Concerto (1993) or the electric violin’s raga-like musings in The Dharma at Big Sur (2003)— was early nurtured by his parents’ activities in jazz groups. As a student at Harvard during the cataclysmic upheavals of the late Sixties, Adams experienced the cognitive dissonance of the arid pronouncements of contemporary serialists when confronted with the fresh, Dionysian inventiveness of this golden age of rock. -
Jahresbericht 2017 Richard Wagner Verband Regensburg E.V
Richard Wagner Verband Regensburg e.V. ************************************************************************* Emil Kerzdörfer, 1. Vorsitzender Kaiser - Friedrich - Allee 46 D - 93051 Regensburg Tel: (+49)-941-95582 Fax: (+49)-941-92655 www.Richard-Wagner-Verband -Regensburg.de **************************************************************************************** Motto: „Phantasie ist wichtiger als Wissen, denn Wissen ist begrenzt“. Albert Einstein (1879 – 1955) ****************************************************************************************** Jahresbericht 2017 1. Vorsitzender: Emil Kerzdörfer Mitgliederzahl: 380 07. Januar: Konzert in der Niedermünsterkirche Regensburg Festmusik von Mozart und Schubert Solisten: Edith Neuner (Sopran) Maximilian Kiener (Tenor) Mathias Achatz (Trompete) Chor und Instrumentalensemble des Collegium musicum Dirigent: Wolfgang Kraus (Stipendiat 1992) 11. Januar: Ballettfahrt in die Bayerische Staatsoper nach München Aram Chatschaturjan/Yuri Grigorovich: „Spartacus“ Choreographie: Yuri Grigorovich Musik: Aram Chatschaturjan Bühne und Kostüme: Simon Virsaladze Solisten und Ensemble des Bayerischen Staatsballetts Bayerisches Staatsorchester Dirigent: Karen Durgaryan 18. Januar: Jour Fixe im Kolpinghaus Vortrag Emil Kerzdörfer: Überblick über das Veranstaltungsjahr 2017 24. Januar: Ballettfahrt in die Bayerische Staatsoper nach München Frederick Ashton: La Fille mal gardée Choreographie: Frederick Ashton Musik: Ferdinand Herold / John Lanchbery Bühne und Kostüme: Osbert Lancaster Solisten und Ensemble