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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
ARSC Journal
HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote- Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner baron--0 habet acht. -
02-06-2019 Don Giovanni Eve.Indd
WOLFGANG AMADEUS MOZART don giovanni conductor Opera in two acts Cornelius Meister Libretto by Lorenzo Da Ponte production Michael Grandage Wednesday, February 6, 2019 PM OM set and costume designer 7:30 –11:00 Christopher Oram lighting designer Paule Constable choreographer Ben Wright revival stage director Louisa Muller The production of Don Giovanni was made possible by a generous gift from the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon Additional funding was received from Jane and Jerry del Missier and Mr. and Mrs. Ezra K. Zilkha The revival of this production is made possible general manager by a gift from the Metropolitan Opera Club Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 567th Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S don giovanni conductor Cornelius Meister in order of vocal appearance leporello continuo Ildar Abdrazakov David Heiss, cello Howard Watkins*, donna anna harpsichord Rachel Willis-Sørensen mandolin solo don giovanni Joyce Rasmussen Balint Luca Pisaroni the commendatore Štefan Kocán don ot tavio Stanislas de Barbeyrac donna elvir a Federica Lombardi zerlina Aida Garifullina maset to Brandon Cedel* Wednesday, February 6, 2019, 7:30PM–11:00PM MARTY SOHL / MET OPERA A scene Chorus Master Donald Palumbo from Mozart’s Musical Preparation Gregory Buchalter, Howard Watkins*, Don Giovanni Lydia Brown*, and Nimrod David Pfeffer* Fight Director J. Allen Suddeth Assistant Stage Directors Sarah Ina Meyers and Daniel Rigazzi Stage Band Conductor Jeffrey Goldberg Italian Coach Loretta Di Franco Prompter Nimrod David Pfeffer* Met Titles Cori Ellison Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Das Gewand, Düsseldorf, and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This production uses fire effects. -
Toward a Characterization of Modernist Opera
Towards a Characterization of Modern Opera Herbert Lindenberger I Modernist opera? The terms we use to periodize opera are not necessarily the terms we use to characterize other forms of music. ‘Baroque opera,’ a term that describes well over a century of works from Monteverdi through the early Gluck, belongs to the same category we apply to all the arts. But although the music of Mozart and Haydn is classified as belonging to the classical style, we do not readily speak of Don Giovanni or Die Zauberflöte as classical operas. Yet we do speak of romantic opera, but this is a relatively narrow term that suggests Weber and his successors up to early Wagner, and it is most often applied to German examples – yet how do we bring the Germans together with their contemporaries Rossini, Bellini, and Donizetti? Better perhaps to keep the Italians to themselves and speak of the Age of Bel Canto, a period concept intrinsic to opera and not transferable to other music, let alone the other arts. Modernist opera, however, is a concept that seems to have caught on, if only because the operas we speak of as ‘modernist’ emanate from composers whom we have already classified with this term. Unlike their nineteenth-century predecessors, the modernist composers of opera were not primarily ‘opera composers.’ Very few of the great nineteenth-century opera composers – the most notable exceptions being Beethoven, Berlioz, and Tchaikovsky – created significant oeuvres outside the opera house. By contrast, the twentieth- century composers left their mark in genres such as symphony, chamber music, and song. -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
11-30-2018 Trittico Eve.Indd
GIACOMO PUCCINI il trittico conductor Il Tabarro Bertrand de Billy Opera in one act with a libretto by production Giuseppe Adami, based on the play Jack O’Brien La Houppelande by Didier Gold set designer Suor Angelica Douglas W. Schmidt Opera in one act with a libretto by costume designer Jess Goldstein Giovacchino Forzano lighting designers Gianni Schicchi Jules Fisher and Opera in one act with a libretto Peggy Eisenhauer by Giovacchino Forzano, based on revival stage directors a passage from the narrative poem Gregory Keller and J. Knighten Smit Divina Commedia by Dante Alighieri Friday, November 30, 2018 7:30–11:20 PM The production of Il Trittico was made possible by a generous gift from Karen and Kevin Kennedy Additional funding for this production was received from the Gramma Fisher Foundation, general manager Peter Gelb Marshalltown, Iowa, The Annenberg Foundation, Hermione Foundation, Mr. and Mrs. William R. jeanette lerman-neubauer music director Miller, and M. Beverly and Robert G. Bartner Yannick Nézet-Séguin 2018–19 SEASON The 83rd Metropolitan Opera performance of GIACOMO PUCCINI’S il tabarro conductor Bertrand de Billy in order of vocal appearance giorget ta Amber Wagner michele George Gagnidze luigi Marcelo Álvarez tinca Tony Stevenson* talpa Maurizio Muraro a song seller Brian Michael Moore** frugol a MaryAnn McCormick young lovers Ashley Emerson* Yi Li Friday, November 30, 2018, 7:30–11:20PM 2018–19 SEASON The 77th Metropolitan Opera performance of GIACOMO PUCCINI’S suor angelica conductor Bertrand de Billy in order of -
ARSC Journal
HISTORICAL REISSUES SCHUBERT: Die schone Miillerin; Winterreise; Schwanengesang. Dietrich Fischer-Dieskau, baritone; Gerald Moore, piano. EMI 127-01764/66, 3 discs. Returning to the first Fischer-Dieskau-Moore Schubert cycle record ings, I have tried to turn back the clock and listen without reference to their long list of later performances. My first impression of Fischer-Dieskau was from the old Fritz Lehmann Saint Matthew Passion recording, in which he sang the Christus. I was enough impressed to become an avid collector of his recordings until they became too numerous for me. My first opportunity to hear him in the flesh was in Edinburgh in 1953, when he and Moore gave a Beethoven recital. Needless to say, I was present at his New York debut, Winterreise sung without interruption and without encores. Few singers of any period have been able to hold an audience so spellbound. It was in this frame of mind that I first heard this recording of Die schone Mullerin. The date of recording is given on the container - 3 and 7 October 1951. At 26 Fischer-Dieskau was already well established as a lieder singer of the first rank. We do not know how much time and study had gone into these songs, but presumably he felt he had arrived at his definitive interpretation. The records reveal a fresh young voice and a thoughtful approach. He presents a gentle apprentice miller, self centered and reserved, vigorous and unsophisticated. I like the jaunti ness of Das Wandern and the way both fischer-Dieskau and Moore make the contrasts among the stanzas without jarring the musical line. -
Building a Library
BUILDING A LIBRARY All selections were made from recordings available in the UK at the time of the broadcast and are full price unless otherwise stated. CD Review cannot guarantee that they have not subsequently been deleted. KEY: CD = compact disc c/w = coupled with SIS = a recording which is only available through EMI’s Special Import Service IMS = a recording which is only available through Universal Classics' Import Music Service CONTENTS September 1999 – July 2000 .................................................................................................................................................................................. 3 September 2000 – July 2001 ................................................................................................................................................................................ 24 September 2001 – July 2002 ................................................................................................................................................................................ 46 September 2002 – July 2003 ................................................................................................................................................................................ 74 September 2003 – July 2004 ................................................................................................................................................................................ 98 September 2004 – July 2005 ............................................................................................................................................................................. -
Der Fliegende Holländer Seminar/Webinar
DER FLIEGENDE HOLLÄNDER SEMINAR/WEBINAR JUNE 29, 2020 and JULY 1, 2020 SENTAS: KNOWN AND UNKNOWN JOE PEARCE 1. KIRSTEN FLAGSTAD, soprano (1895-1962) a) Act II: - “Wohl kenn’ ich Golden Age HERBERT JANSSEN, baritone (1892-1965) Weibes heil’ge Pflichten” of Opera MAX LORENZ, tenor (1901-1975) b) Act II: - “Verzheit! EJS-515 LUDWIG WEBER, bass (1899-1974) Mein Volk….” MARY JARRED, m. s. (1899-1993) c) Act III: - “Zahllose Opfer Royal Opera Chorus, Covent Garden fielen diesen Spruch” London Philharmonic Orchestra Fritz Reiner, conductor (June 11, 1937) (6:29) 2. ASTRID VARNAY, soprano (1918-2006) Act II: - “Wohl kenn’ ich Voce Della HERMANN UHDE, bass-baritone (1914-1965) Weibes heil’ge Pflichten: Luna Bayreuth Festival Orchestra 2012-2 Joseph Keilberth, conductor (August 1955) (3:28) 3. INGRID BJONER, soprano (1927-2006) Act III: - “Zahllose Opfer Hamburger FRANZ CRASS, bass (1928-2012) fielen diesen Spruch” Archive SVEN OLAF ELIASSON, tenor (1933-2015) 10613 KARL RIDDERBUSCH, bass (1932-1997) REGINE FONSECA, m. s. (1932- ) RAI Rome Chorus and Orchestra Wolfgang Sawallisch, conductor (February 2, 1969) (2:50) 4. HELEN TRAUBEL, soprano (1898-1972) Act II: - “Traft ihr das Schiff” RCA RCA Victor Orchestra Victor Frieder Weissmann, conductor (1950) (5:10) 49-3148/49 5. MARIA MUELLER, soprano (1898?-1958) a) Act II: - “Wohl kenn’ ich Preiser JOEL BERGLUND, bass-baritone (1903-1985) Weibes heil’ge Pflichten” 90232 LUDWIG HOFMANN, bass (1895-1963) b) Act II: - “Verzheit! Bayreuth Festival Orchestra Mein Volk...” Richard Kraus, conductor (July 18, 1942) (4:22) 6. LEONIE RYSANEK, soprano (1926-1998) Act III: - “Zahllose Opfer Living FRANZ CRASS, bass (1928-2012) fielen diesen Spruch” Stage CLAUDE HEATER, tenor (1927-2020) 40-35125 KARL RIDDERBUSCH, bass (1932-1997) ANNEMARIE BESSEL, m. -
ARSC Journal, Fall 1989 209 Sound Recording Reviews
Sound Recording Reviews Underground Reiner Richard Strauss: Salome. Ljuba Welitsch, Kerstin Thorborg, Herbert Janssen, Frederick Jagel, Brian Sullivan, Fritz Reiner conducting. (Metropolitan Opera, March 12, 1949). Mozart: Don Giovanni, "Ah, del padre in periglio," "Fuggi, crudele, fuggi!" "Don Ottavio, son morta," "Or sai chi l'onore," "Calmatevi, idol mio," "Non mi dir, bell' idol mio." Ljuba Welitsch, Eugene Conley, Fritz Reiner conducting. (Metropolitan Opera, January 6, 1951). Verdi:Ai"da, "Dessa!. .. Ei si turba," "Alta cagion v' aduna," "Su! dal Nilo," "Ritorna vincitor," "La fatal pietra," "O terra addio." Ljuba Welitsch, Margaret Harshaw, Ramon Vinay, Norman Cordon, Emil Cooper conducting. (Metropolitan Opera, March 11, 1950). Melodram 27042, 2 CDs. Richard Strauss: Der Rosenkavalier. Astrid Varnay, Rise Stevens, Nadine Conner, Endre Koreh, Fritz Reiner conducting. (Metropolitan Opera, February 28, 1953). Wagner: Der fiiegende Hollander, Act II, "Jo-Ho-Hoe! Tritt ihr das Schiff." Astrid Varnay, Set Svanholm, Fritz Reiner, conducting. (Metropolitan Opera, December 30?, 1950). Melodram 41, 4 long-playing discs. Verdi: Messa da Requiem. Leonie Rysanek, Regina Resnik, David Lloyd, Giorgio Tozzi, Chicago Symphony Chorus (Margaret Hillis, director), Chicago Symphony Orchestra (NOT Chicago Lyric Opera). Fritz Reiner conducting. (April 14, 1958). Melodram 38, 2 long-playing records. Wagner: Tristan und Isolde, Act II. Kirsten Flagstad, Katherine Meisle, Lauritz Melchior, Herbert Janssen, Emmanuel List, Fritz Reiner conducting. (San Francisco Opera?? 1937) Legato Classics LCD 145, one CD. Wagner: Die Walkilre, Act II. Kirsten Flagstad, Lotte Lehmann, Katherine Meisle, Lauritz Melchior, Friedrich School, Fritz Reiner conducting. (San Francisco Opera, November 13, 1936) Legato LCD 133, one CD. Bart6k (arr. Weiner): Two Rumanian Dances; Debussy (arr. -
Don Giovanni
WOLFGANG AMADEUS MOZART don giovanni conductor Opera in two acts Cornelius Meister Libretto by Lorenzo Da Ponte production Michael Grandage Tuesday, April 9, 2019 PM set and costume designer 8:00–11:30 Christopher Oram lighting designer Paule Constable choreographer Ben Wright revival stage director Louisa Muller The production of Don Giovanni was made possible by a generous gift from the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon Additional funding was received from Jane and Jerry del Missier and Mr. and Mrs. Ezra K. Zilkha The revival of this production is made possible general manager by a gift from the Metropolitan Opera Club Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 573rd Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S don giovanni conductor Cornelius Meister in order of vocal appearance leporello continuo Adam Plachetka Kari Jane Docter, cello Linda Hall, harpsichord donna anna Guanqun Yu mandolin solo Joyce Rasmussen Balint don giovanni Peter Mattei the commendatore Dmitry Belosselskiy don ot tavio Pavol Breslik donna elvir a Susanna Phillips zerlina This performance Serena Malfi is being broadcast maset to live on Metropolitan Opera Radio on Kihwan Sim SiriusXM channel 75. Tuesday, April 9, 2019, 8:00–11:30PM MARTY SOHL / MET OPERA A scene Chorus Master Donald Palumbo from Mozart’s Musical Preparation Donna Racik, Linda Hall, Don Giovanni Derrick Inouye, and Lydia Brown* Fight Director J. Allen Suddeth Assistant Stage Directors Sarah Ina Meyers and Daniel Rigazzi Stage Band Conductor Jeffrey Goldberg Italian Coach Loretta Di Franco Prompter Donna Racik Met Titles Cori Ellison Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Das Gewand, Düsseldorf, and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This production uses fire effects.