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Boston Early Music Festival Announces 2013 Festival
FOR IMMEDIATE RELEASE: April 1, 2012 CONTACT: Kathleen Fay, Executive Director | Boston Early Music Festival 161 First Street, Suite 202 | Cambridge, MA 02142 617-661-1812 | [email protected] | www.bemf.org BOSTON EARLY MUSIC FESTIVAL ANNOUNCES 2013 FESTIVAL OPERATIC CENTERPIECE , HANDEL ’S ALMIRA Cambridge, MA – April 1, 2012 – The Boston Early Music Festival has announced plans for the 2013 Festival fully-staged Operatic Centerpiece Almira, the first opera by the celebrated and beloved Baroque composer, George Frideric Handel (1685–1759), in its first modern-day historically-conceived production. Written when he was only 19, Almira tells a story of intrigue and romance in the court of the Queen of Castile, in a dazzling parade of entertainment and delight which Handel would often borrow from during his later career. One of the world’s leading Handel scholars, Professor Ellen T. Harris of MIT (Massachusetts Institute of Technology), has said that BEMF is the “perfect and only” organization to take on Handel’s earliest operatic masterpiece, as it requires BEMF’s unique collection of artistic talents: the musical leadership, precision, and expertise of BEMF Artistic Directors Paul O’Dette and Stephen Stubbs; the stimulating and informed stage direction and magnificent production designs of BEMF Stage Director in Residence Gilbert Blin; “the world’s finest continuo team, which you have”; the highly skilled BEMF Baroque Dance Ensemble to bring to life Almira ’s substantial dance sequences; the all-star BEMF Orchestra; and a wide range of superb voices. BEMF will offer five fully-staged performances of Handel’s Almira from June 9 to 16, 2013 at the Cutler Majestic Theatre at Emerson College (219 Tremont Street, Boston, MA, USA), followed by three performances at the Mahaiwe Performing Arts Center (14 Castle Street, Great Barrington, MA, USA) on June 21, 22, and 23, 2013 ; all performances will be sung in German with English subtitles. -
George Frideric Handel German Baroque Era Composer (1685-1759)
Hey Kids, Meet George Frideric Handel German Baroque Era Composer (1685-1759) George Frideric Handel was born on February 23, 1685 in the North German province of Saxony, in the same year as Baroque composer Johann Sebastian Bach. George's father wanted him to be a lawyer, though music had captivated his attention. His mother, in contrast, supported his interest in music, and he was allowed to take keyboard and music composition lessons. His aunt gave him a harpsichord for his seventh birthday which Handel played whenever he had the chance. In 1702 Handel followed his father's wishes and began his study of law at the University of Halle. After his father's death in the following year, he returned to music and accepted a position as the organist at the Protestant Cathedral. In the next year he moved to Hamburg and accepted a position as a violinist and harpsichordist at the opera house. It was there that Handel's first operas were written and produced. In 1710, Handel accepted the position of Kapellmeister to George, Elector of Hanover, who was soon to be King George I of Great Britain. In 1712 he settled in England where Queen Anne gave him a yearly income. In the summer of 1717, Handel premiered one of his greatest works, Water Music, in a concert on the River Thames. The concert was performed by 50 musicians playing from a barge positioned closely to the royal barge from which the King listened. It was said that King George I enjoyed it so much that he requested the musicians to play the suite three times during the trip! By 1740, Handel completed his most memorable work - the Messiah. -
The Music the Music-To-Go Trio Wedding Guide Go Trio Wedding
The MusicMusic----ToToToTo----GoGo Trio Wedding Guide Processionals Trumpet Voluntary.................................................................................Clarke Wedding March.....................................................................................Wagner Jesu, Joy of Man’s Desiring...................................................................... Bach Te Deum Prelude.......................................................................... Charpentier Canon ................................................................................................. Pachelbel Air from Water Music............................................................................. Handel Sleepers Awake.......................................................................................... Bach Sheep May Safely Graze........................................................................... Bach Air on the G String................................................................................... Bach Winter (Largo) from The Four Seasons ..................................................Vivaldi MidMid----CeremonyCeremony Music Meditations, Candle Lightings, Presentations etc. Ave Maria.............................................................................................Schubert Ave Maria...................................................................................Bach-Gounod Arioso......................................................................................................... Bach Meditation from Thaïs ......................................................................Massenet -
Mozart À Cordes Et À Plumes |
Les Concerts du Mercredi à 18h Mozart à cordes et à plume Mercredi 4 octobre à 18h Wolfgang Amadeus Mozart Avec Divertimento en Fa Majeur KV 138 (125c) (1772) Les solistes du Concert d’Astrée [Allegro] Andante Agnieszka Rychlik, violon [Presto] Charles-Etienne Marchand, violon Quatuor à cordes en Sol Majeur KV 80 (73f), Michel Renard, alto dit « Quatuor Lodi » (1770) Felix Knecht, violoncelle Adagio Allegro et Menuetto Rondeau [allegro] Antoine Suarez-Pazos, récitant Lettres de W. A. Mozart : traduction complète par Henri de Curzon - Paris 1888 Brève de concert Dans la scène finale du premier acte de Cosi fan tutte, Despina déguisée en médecin chante : « Ceci est un fameux morceau d’aimant, pierre mesmérique qui eut son origine en Allemagne et fut ensuite si célèbre là-bas en France ». Elle soigne ainsi, avec cette pierre, Ferrando et Guglielmo feignant de s’être empoisonnés pour mettre fin à leur déception amoureuse. Da Ponte et Mozart évoquent dans cette grande scène comique le fondateur du magnétisme, Franz- Anton Mesmer qui exerça à Vienne en 1776 avant de se rendre à Paris. Mélomane averti et riche mécène, il reçut chez lui Gluck, Haydn et Mozart… Avant d’immortaliser cette référence dans son Cosi, le compositeur avait déjà croisé la route du médecin : c’est Mesmer qui probablement commanda Bastien und Bastienne au jeune Wolfgang Amadeus âgé de 12 ans, opéra qui précède de quelques mois les œuvres au programme de ce soir ! www.opera-lille.fr #operalille Note de programme Je me porte bien, grâce à Dieu; je baise les mains de maman, et la fi gure, le nez, la bouche et le cou de ma sœur et ma mauvaise plume, et le derrière s’il est propre. -
Swedish Debut at Royal Opera Stockholm with Handel's „Xerxes“
Press release Greek conductor George Petrou – Swedish debut at Royal Opera Stockholm with Handel’s „Xerxes“: 6. February 2015 Greek conductor George Petrou will be making his Swedish debut at the Royal Opera in Stockholm: On 6. February 2015 he will be conducting the revival of “Xerxes” by Georg Friedrich Handel. Katija Dragojevic will be heard in the titel role; other main characters will be represented by Susanna Stern (Romilda), Vivianne Holmberg (Atalante), Johanna Rudström (Arsamenes), Katarina Leoson (Amastris), John Erik Eleby (Ariodates) and Jens Persson (Elviro). The production was directed by Daniel Slater, stage design, costumes and mask by Robert Innes Hopkins. Further performances: 11., 14., 17., 24., 27. February and 3. March. George Petrou has been established as one of the world's leading Handel specialists. Many of his Handel-opera-recordings received important classical music awards like the French Diapason d’Or and Choc du monde de la musique as well as the German ECHO Klassik. For George Petrou “Xerxes” in Stockholm is also a premiere even though he has already conducted selected arias of the opera in the past: “Serse was a turning point in Handel's operatic output. It looked ahead into the future, breaking a great deal of the Opera seria conventions. Apparently it quite shocked the public with its novelty of structure and style, and it wasn't understood. However, it remains one of Handel's top creations.” “Xerxes” is one of the most frequently played operas by Handel. The plot unfolds as a comic rollercoaster of love, jealousy and secret desires in which nothing is quite as it seems. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
Dossier Do Festival De Música Cidade De Lugo Cos
Festival de Música Cidade de Lugo XXXVIII Semana do Corpus abril-xuño 2010 sábado 17 de abril de 2010 mércores 19 de maio de 2010 Aniversario Pergolesi Aniversario Chopin: a influencia do bel canto en Chopin ROMINA BASSO mezzosoprano MARÍA ESPADA soprano ORPUS LA RISONANZA KENNEDY MORETTI piano C FABIO BONIZZONI director Bellini, Donizetti, Rossini e Chopin Caldara, Bononcini, Durante, Domenico Scarlatti e Pergolesi Círculo das Artes, 20:30 Círculo das Arte, 20:30 venres 21 de maio de 2010 ANA DO luns 19 de abril de 2010 Sonatas de Bach M A música de cámara: o óboe e o trío de cordas CARLOS MÉNDEZ contrabaixo E S IRINA GRUIA violín FERNANDO LÓPEZ PAN clave ANNE SCHLOSSMACHER viola Fundación Caixa Galicia, 20:30 THOMAS PIEL violoncello VIII sábado 22 de maio de 2010 ESTHER VIÚDEZ óboe Istampitta, a danza na Idade Media Mozart, Britten, Webern e Dohnanyi EVO Fundación Caixa Galicia, 20:30 Círculo das Artes, 21:00 xoves 22 de abril de 2010 luns 24 de maio de 2010 Carnaval, Schumann e o piano romántico Membra Jesu Nostri de Buxtehude ANDREA LUCCHESINI piano CORO DA UNIVERSIDADE DE SANTIAGO Schumann, Schubert, Scarlatti... CAPELA COMPOSTELANA UGO 2010 - XXX Conservatorio Prof. de Música, 20:30 L MIRO MOREIRA director martes 27 de abril de 2010 Igrexa de San Pedro, 20:30 Os ciclos de cancións de Britten (3) mércores 26 de maio de 2010 RONAN COLLETT barítono Himno para violas ROGER VIGNOLES piano ENSEMBLE PLUS IDADE IDADE DE Britten, Poulenc e Ives Runchak, Pereiro, Buide e Rosinskij C Conservatorio Prof. de Música, 20:30 Conservatorio Prof. -
The Italian Girl in Algiers
Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music -
Handel-House-Talent-2017-Booklet.Pdf
ABOUT THE PROGRAMME The programme will run from 30 September 2017 to 31 October 2018 with an end of year concert in December 2018. Over the course of the year the group of successful candidates will be offered: • At least two opportunities for each participant to perform at a Handel House concert, including working with Handel House staff on planning these concerts • An individual open masterclass for each participant, with a leading professional of their instrument, including feedback and tuition. Other participants of the scheme and members of the public will be invited to observe • A group tutorial by baroque specialist Laurence Cummings focusing on interpreting baroque pieces for performance • Two specialist workshops at Handel House on practical topics associated with becoming a successful professional musician (devising concert programmes, communicating with audiences, promotion, dealing with agents, managing finances etc). External experts will be invited to lead these • Opportunities to practise and rehearse at Handel House in their own time – HANDEL HOUSE whenever rehearsal space is available • A final showcase concert at the end of the year for the six participants, to an invited audience including people with interest and influence in the world of classical music performance. This concert is to be devised, talent organised and created by the participants as a group, with back-up from Handel House staff where needed • Promotion as ‘alumni’ of the HH Talent Programme on our website, on Handel House will select singers and programme notes provided at Handel House concerts and other marketing instrumentalists with a particular interest in material produced by Handel House performing music from the baroque period to benefit from this free, year-long programme. -
Sinkovsky Vivaldi
SEasONS saISONS PLAYS SINKOVSKY & SINGS VIVALDI VIOLIN & COUNTERTENOR 2 antonio vivaldi 1678-1741 le quattro stagioni cessate omai cessate gelido in ogni vena dmitry sinkovsky VIOLIN, COUNTERTENOR & CONDUCTOR la voce strumentale 3 antonio vivaldi 1678-1741 le quattro stagioni | les quatre saisons | the four seasons concerto ‘la primavera | le printemps | spring’ RV 269 in mi maggiore | en mi majeur | in e major 1 Allegro 3’21 2 Largo 2’23 3 Allegro 3’53 le quattro stagioni | les quatre saisons | the four seasons concerto ‘l’estate | l’été | summer’ RV 315 in sol minore | en sol mineur | in g minor 4 Allegro non molto. Allegro 5’32 5 Adagio – Presto – Adagio 2’24 6 Presto 2’33 cessate omai cessate cantate per contralto, archi e continuo RV 684 in mi bemolle maggiore | en mi bémol majeur | in e flat major 7 Recitativo: “Cessate, Omai Cessate” 1’50 8 Aria: “Ah, Ch’infelice Sempre” 5’17 9 Recitativo: “A Voi Dunque Ricorro” 1’17 10 Aria: “Nell’orrido Albergo” 3’36 4 le quattro stagioni | les quatre saisons | the four seasons concerto ‘l’autunno | l’automne | autumn’ RV 293 in fa maggiore | en fa majeur | in f major 11 Allegro 4’58 12 Adagio molto 3’05 13 Allegro 3’18 14 gelido in ogni vena 8’22 Farnace, Farnace, atto II, scena 5 le quattro stagioni | les quatre saisons | the four seasons concerto ‘l’inverno | l’hiver | winter’ RV 297 in fa minore | en fa mineur | in f minor 15 Allegro non molto 3’48 16 Largo 1’57 17 Allegro 3’18 5 la voce strumentale | dmitry sinkovsky VIOLIN & VIOLA | VIOLON & ALTO maria krestinskaya Giovanni Paolo Maggini, Brescia 1627 elena davidova Alessandro Gagliano, Napoli 1725 evgeny sviridov Anonym Italy, first half of the 18th century tatiana fedyakova Ferdinando Gagliano, Napoli 1770, viola- anonym, Venetian school ca. -
Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall
Handel Rinaldo Tuesday 13 March 2018 6.30pm, Hall The English Concert Harry Bicket conductor/harpsichord Iestyn Davies Rinaldo Jane Archibald Armida Sasha Cooke Goffredo Joélle Harvey Almirena/Siren Luca Pisaroni Argante Jakub Józef Orli ´nski Eustazio Owen Willetts Araldo/Donna/Mago Richard Haughton Richard There will be two intervals of 20 minutes following Act 1 and Act 2 Part of Barbican Presents 2017–18 We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we welcome back Harry Bicket as delighted by the extravagant magical and The English Concert for Rinaldo, the effects as by Handel’s endlessly inventive latest instalment in their Handel opera music. And no wonder – for Rinaldo brings series. Last season we were treated to a together love, vengeance, forgiveness, spine-tingling performance of Ariodante, battle scenes and a splendid sorceress with a stellar cast led by Alice Coote.