A Midsummer Night's Dream

Total Page:16

File Type:pdf, Size:1020Kb

A Midsummer Night's Dream 9 TEATRO MASSIMO BRITTEN BENJAMIN B enjamin B ritten A MIDSUMMER NIGHT’S DREAM | MIDSUMMER NIGHT’S DREAM NIGHT’S MIDSUMMER Membro di seguici su: teatromassimo.it Piazza Verdi - 90138 Palermo ISBN: 978-88-98389-61-2 euro 10,00 SOCI FONDATORI PARTNER PRIVATI REGIONE SICILIANA ASSESSORATO AL TURISMO SPORT E SPETTACOLI ALBO DEI DONATORI Fondazione ART BONUS Teatro Massimo Tasca d’Almerita Francesco Giambrone Sovrintendente Angelo Morettino srl CONSIGLIO DI INDIRIZZO Leoluca Orlando (sindaco di Palermo) Presidente Giovanni Alongi Leonardo Di Franco Vicepresidente Daniele Ficola Sais Autolinee Francesco Giambrone Sovrintendente Enrico Maccarone Agostino Randazzo Anna Sica Marco Di Marco COLLEGIO DEI REVISORI Maurizio Graffeo Presidente Filippone Assicurazione Marco Piepoli Gianpiero Tulelli Giuseppe Di Pasquale Alessandra Giurintano Di Marco TURNI A MIDSUMMER NIGHT’S DREAM (Sogno di una notte di mezza estate) Opera in tre atti Libretto di Benjamin Britten e Peter Pears da A Midsummer Night’s Dream di William Shakespeare Data Turno Ora Musica di Benjamin Britten Martedì 19 settembre Prime 20.30 C Giovedì 21 settembre 18.30 Prima rappresentazione: F Venerdì 22 settembre 20.30 Aldeburgh Festival, 11 giugno 1960 Domenica 24 settembre D 17.30 Martedì 26 settembre B 18.30 S1 Mercoledì 27 settembre 18.30 Prima rappresentazione a Palermo Lo spettacolo sarà trasmesso in diretta da RAI Radio3 e in differita da RAI5 Allestimento del Palau de les Arts Reina Sofia di Valencia INDICE 1 ARGOMENTO 13 SYNOPSIS 17 ARGUMENT 21 HANDLUNG 25 2 ALESSANDRA SCIORTINO INTRODUZIONE ALL’OPERA 31 DARIO OLIVERI «SIGNORE, CHE PAZZI QUESTI MORTALI!» UN PERCORSO INTORNO AL MIDSUMMER NIGHT’S DREAM DI BENJAMIN BRITTEN 39 3 IL LIBRETTO 65 ATTO I 66 ATTO II 96 ATTO III 140 4 BENJAMIN BRITTEN 179 LE PRIME DI BRITTEN AL TEATRO MASSIMO 183 BIBLIOGRAFIA ESSENZIALE 191 NOTE BIOGRAFICHE 193 1 ARGOMENTO 13 SYNOPSIS 17 ARGUMENT 21 HANDLUNG 25 ARGOMENTO Sogno di una notte di mezza estate ATTO I Nel bosco Puck annuncia l’arrivo di Oberon e Titania. I due litigano per via di un giovane servitore indiano, che ciascuno vorrebbe per sé. Oberon per vendicarsi di Titania ordina a Puck di procurargli l’erba ma- gica il cui succo provoca amore per la prima persona vista al risveglio. Giunge il quartetto degli ateniesi: Lisandro ed Ermia si giurano eterno amore, Demetrio rifiuta le profferte di Elena. All’uscita delle coppie, Puck porta il fiore magico: Oberon lo incarica di servirsene intanto per ‘curare’ la ritrosia di Demetrio. Un gruppo di artigiani prepara una recita per festeggiare le nozze di Teseo, duca d’Atene. Puck cosparge per errore il magico nettare sugli occhi di Lisandro, addormentato non lontano da Ermia. Giungono liti- gando Elena e Demetrio: Elena rimasta sola sveglia Lisandro, che – per effetto del filtro – le dichiara il suo amore; indignata, la donna fugge e lui la segue. Al risveglio Ermia, impaurita, si trova sola. Titania chiede al suo seguito di cantarle una ninna-nanna. Dopo che si è addormentata entra Oberon, che spreme sui suoi occhi il liquido magico. 1 / ARGOMENTO ATTO II Nella foresta, in piena notte, Titania dorme. Puck per giocare uno scherzo agli artigiani che provano la commedia affibbia una testa d’asino al tessitore Chiappa, facendo fuggire tutti in preda al panico. Chiappa intona a piena voce una canzonaccia che risveglia Titania, che per influsso del filtro si innamora subito di lui. Divertito e soddisfat- to dell’operato di Puck, Oberon s’incollerisce però quando Demetrio arriva in compagnia di Ermia, e interviene personalmente per sanare le tensioni causate da Puck: il magico filtro opera ancora al risveglio di Demetrio, che vede Elena e le giura amore. Giungono anche Ermia e Lisandro e fra i quattro ha inizio una disputa che culmina nel duello fra i due uomini. Per placare Oberon, Puck corre ai ripari: spinge gli amanti a rincorrersi nella foresta fino a crollare per la stanchezza. Le fate cantano una ninna-nanna e Puck spreme un antidoto sugli occhi di Lisandro. ATTO III Nel bosco, all’alba, Oberon spiega a Puck d’aver ottenuto il ragazzo indiano già oggetto della disputa con Titania, e libera dunque quest’ul- tima dall’incantesimo amoroso, restituendo a Chiappa le normali sem- bianze: svegliato dai colleghi, questi si precipita con loro ad allestire la pièce prescelta per celebrare le nozze regali. Frattanto anche i quattro amanti si risvegliano, pienamente riconciliati, e tornano ad Atene. Nel palazzo ducale Teseo annuncia i matrimoni. Gli artigiani recitano in maniera farsesca e sconclusionata il dramma La molto lamentevole commedia e la crudelissima morte di Piramo e Tisbi. Al calar della not- te Teseo congeda tutti: il teatro si svuota, ma ricompaiono le fate con Puck, Titania ed Oberon. 14 SYNOPSIS A Midsummer Night’s Dream ACT I In the woods, Puck announce the arrival of Oberon and Tytania. They are quarrelling over an Indian pageboy. Oberon decides to torment Tytania and tells Puck to fetch the magic herb whose juice, squeezed on the eyes of a sleeper, will make them fall in love with the first person they see. The Athenian quartet arrives: Lysander and Hermia swear each other eternal love while Demetrius refuses Helena’s offers. When they both leave, Puck gives Oberon the flowers and the latter tells him to use them to ‘cure’ Demetrius’ unwillingness. A group of artisans is rehearsing for a play to celebrate the wedding of Theseus, Duke of Athens. Puck mistakenly squeezes the magic juice on Lysander’s eyes, who is sleeping next to Hermia. Helena and Deme- trius then arrive, still quarrelling. Helena remains alone with Lysander who, under the potion’s effect, declares his love for her. In disbelief the woman leaves. When Hermia wakes up, afraid, she is alone. Tytania asks her fairies to sing her a lullaby. Once she is asleep, Oberon enters and squeezes the magical liquid on her eyes. ACT II In the forest in deepest night. Tytania is sleeping. Puck decides to play 1 / SYNOPSIS a joke on the artisans who are reharsing the comedy and transforms Bottom’s head into that of a donkey, making his colleagues run away from him in haste. Bottom then starts bellowing and awakens Tytania, arousing her instant love. Although amused and satisfied by Puck’s work, Oberon flies into a rage when Demetrius appears with Hermia and intervenes personally to calm the tensions Puck has mistakenly created: once again the magic juice is at work and when Demetrius wa- kes up and sees Helena, he immediately declares his love. Meanwhile Hermia and Lysander also arrive, leading to a dispute that ends in a duel between the two men. When Puck sees Oberon’s anger, he deci- des to make amends and hatches a plot between the lovers who chase each other into the forest until they collapse with fatigue. The fairies sing a fairy song and Puck squeezes an antidote on Lysander’s eyes. ACT III Early morning in the woods. Oberon is explaining to Puck that he alre- ady acquired the Indian boy who was the cause of the argument with Tytania and therefore frees the latter from the love spell, returning Bot- tom to his former self. Bottom rushes away with the other artisans to prepare their pièce, chosen especially to celebrate the royal wedding. Meanwhile the four lovers reawaken, completely reconciled and ready to go back to Athens. In the ducal palace Theseus announces not only his own marriage, but also that of the other two couples. The artisans recite the drama of The most lamentable comedy, and most cruel death of Pyramus and Thi- sby. When night falls Theseus takes his leave from everybody: the the- atre empties but the fairies reappear with Puck, Tytania and Oberon. 18 ARGUMENT Le songe d’une nuit d’été ACTE I Dans le bois, Puck annonce l’arrivée d’Oberon et de Titania. Les deux se disputent à propos d’un jeune page indien. Oberon décide de tourmenter Titania et envoie Puck chercher l’herbe magique dont le suc, pressé sur les yeux d’une personne endormie, la fait tomber amoureuse de la première créature qu’elle verra. Le quatuor des Athéniens arrive: Lysander et Hermia se jurent un amour éternel, tandis que Demetrius repousse les avances de Helena. Après la sortie des deux couples, Puck arrive avec les fleurs prodigieuses; pour l’instant Oberon le charge de s’en servir pour “traiter” la cruauté de Demetrius. Un groupe d’artisans prépare une représentation pour fêter les noces de Theseus, duc d’Athènes. Puck répand par erreur le suc magique sur les yeux de Lysander, qui s’est endormi près d’Hermia. Ensuite arrivent Helena et Demetrius, toujours en se disputant. Helena, restée seule, réveille Lysander qui, sous l’effet du philtre, lui déclare son amour; elle s’en va alors, dépitée, tandis qu’il la suit. À son réveil Hermia se retrouve seule. Titania demande aux fées de sa suite de lui chanter une berceuse. Après qu’elle s’est endormie, Oberon presse le suc magique sur ses yeux. 1 / ARGUMENT ACTE II Dans la forêt, au cœur de la nuit, Titania dort. Puck décide de jouer un tour aux artisans qui répétent la pièce: il métamorphose le tisserand Bottom avec une tête d’âne, ses camarades fuient. Bottom entonne ensuite une chanson et ainsi réveille Titania, qui tombe amoureuse de lui. Oberon, satisfait des actes de Puck, se met en colère quand Demetrius paraît avec Helena, et intervient personellement pour aplanir les tensions provoquées par Puck: au réveil de Demetrius, le filtre lui fait déclarer son amour à Helena. Arrivent aussi Hermia et Lysander et entre les quatre une querelle éclate, qui se termine par un duel entre les deux hommes.
Recommended publications
  • Donizetti Operas and Revisions
    GAETANO DONIZETTI LIST OF OPERAS AND REVISIONS • Il Pigmalione (1816), libretto adapted from A. S. Sografi First performed: Believed not to have been performed until October 13, 1960 at Teatro Donizetti, Bergamo. • L'ira d'Achille (1817), scenes from a libretto, possibly by Romani, originally done for an opera by Nicolini. First performed: Possibly at Bologna where he was studying. First modern performance in Bergamo, 1998. • Enrico di Borgogna (1818), libretto by Bartolomeo Merelli First performed: November 14, 1818 at Teatro San Luca, Venice. • Una follia (1818), libretto by Bartolomeo Merelli First performed: December 15, 1818 at Teatro San Luca,Venice. • Le nozze in villa (1819), libretto by Bartolomeo Merelli First performed: During Carnival 1820-21 at Teatro Vecchio, Mantua. • Il falegname di Livonia (also known as Pietro, il grande, tsar delle Russie) (1819), libretto by Gherardo Bevilacqua-Aldobrandini First performed: December 26, 1819 at the Teatro San Samuele, Venice. • Zoraida di Granata (1822), libretto by Bartolomeo Merelli First performed: January 28, 1822 at the Teatro Argentina, Rome. • La zingara (1822), libretto by Andrea Tottola First performed: May 12, 1822 at the Teatro Nuovo, Naples. • La lettera anonima (1822), libretto by Giulio Genoino First performed: June 29, 1822 at the Teatro del Fondo, Naples. • Chiara e Serafina (also known as I pirati) (1822), libretto by Felice Romani First performed: October 26, 1822 at La Scala, Milan. • Alfredo il grande (1823), libretto by Andrea Tottola First performed: July 2, 1823 at the Teatro San Carlo, Naples. • Il fortunate inganno (1823), libretto by Andrea Tottola First performed: September 3, 1823 at the Teatro Nuovo, Naples.
    [Show full text]
  • La Donna Del Lago , the Met's First Production of the Bel Canto Showcase, on Great Performances at the Met
    Press Contacts: Harry Forbes, WNET 212-560-8027 or [email protected] Eva Chien 212-870-4589 or [email protected] Press materials: http://pressroom.pbs.org or http://www.thirteen.org/13pressroom Website: http://www.pbs.org/wnet/gperf Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS Joyce DiDonato and Juan Diego Flórez Star In Rossini's La Donna del Lago , the Met's First Production of the Bel Canto Showcase, on Great Performances at the Met Sunday, August 2 at 12 p.m. on PBS Joyce DiDonato and Juan Diego Flórez headline Rossini's bel canto tour-de-force La Donna del Lago on THIRTEEN’S Great Performances at the Met Sunday, August 2 at 12 p.m. on PBS. (Check local listings.) In this Rossini classic based on the work by Sir Walter Scott, DiDonato sings the title role of Elena, the lady of the lake pursued by two men, with Flórez in the role of Giacomo, the benevolent king of Scotland. Michele Mariotti , last featured in the Great Performance at the Met broadcast of Rigoletto , conducts debuting Scottish director Paul Curran's staging, a co-production with Santa Fe Opera. The cast also includes Daniela Barcellona in the trouser role of Malcolm, John Osborn as Rodrigo, and Oren Gradus as Duglas. "The wondrous Ms. DiDonato and Mr. Mariotti, the fast-rising young Italian conductor, seemed almost in competition to see who could make music with more delicacy,” noted The New York Times earlier this year, and “Mr. Mariotti drew hushed gentle and transparent playing from the inspired Met orchestra.” And NY Classical Review raved, "Joyce DiDonato…was beyond perfect..
    [Show full text]
  • Francis Poulenc
    CHAN 3134(2) CCHANHAN 33134134 WWideide bbookook ccover.inddover.indd 1 330/7/060/7/06 112:43:332:43:33 Francis Poulenc © Lebrecht Music & Arts Library Photo Music © Lebrecht The Carmelites Francis Poulenc © Stephen Vaughan © Stephen CCHANHAN 33134(2)134(2) BBook.inddook.indd 22-3-3 330/7/060/7/06 112:44:212:44:21 Francis Poulenc (1899 – 1963) The Carmelites Opera in three acts Libretto by the composer after Georges Bernanos’ play Dialogues des Carmélites, revised English version by Joseph Machlis Marquis de la Force ................................................................................ Ashley Holland baritone First Commissioner ......................................................................................James Edwards tenor Blanche de la Force, his daughter ....................................................... Catrin Wyn-Davies soprano Second Commissioner ...............................................................................Roland Wood baritone Chevalier de la Force, his son ............................................................................. Peter Wedd tenor First Offi cer ......................................................................................Toby Stafford-Allen baritone Thierry, a valet ........................................................................................... Gary Coward baritone Gaoler .................................................................................................David Stephenson baritone Off-stage voice .......................................................................................
    [Show full text]
  • Spotlight on Joel Ivany, Assistant Director
    Spotlight on Joel Ivany, Assistant Director The Canadian Opera Company has hired a new assistant director to work on La Bohème. This is a prestigious BIOGRAPHY: Stage position for a young Canadian director. Joel Ivany has Director Joel Ivany trained and prepared and is ready for the challenge. He recently apprenticed spoke with us about how his life experiences have shaped under Tim Albery his work today. at the Canadian Opera Company Q: What is something from your early memories that for their acclaimed informs how you work as a director today? production of War and Peace. Directing Joel: There were four of us growing up; an older sister, credits this past summer and a younger sister and brother. I was brought up on included a new work, Sound of Music, Oliver, Mary Poppins and Babes in Knotty Together in Toyland. We’d watch them over and over and over again. Dublin, Ireland, Hänsel I think I get a lot of my ideas and theatricality from those und Gretel in Edmonton, Alberta and Haydn’s La early experiences. Canterina in Sulmona, Italy. His directing credits include such productions as: Copland’s The Tender Q: You have directed operas in Ireland and Italy for Land, Kander and Ebb’s Cabaret, Mozart’s Die different companies. Is the COC any different? More Zauberflöte and associate stage director for the exciting? More nerve wracking? University of Toronto Opera School’s production of Handel’s Ariodante. This past January he Joel: To be an assistant director at the Canadian Opera was involved in collaborating and staging three Company is definitely exciting.
    [Show full text]
  • Wuthering Heights Artist Biographies Jesse Blumberg (Mr
    Wuthering Heights Artist Biographies Jesse Blumberg (Mr. Lockwood) Baritone Jesse Blumberg is an artist equally at home on opera, concert, and recital stages. Last season, he performed the role of the Celebrant in Bernstein's Mass at London's Royal Festival Hall under the baton of Marin Alsop, debuted with Boston Lyric Opera as Harlekin in Ariadne auf Naxos, and performed recitals in Paris with the Mirror Visions Ensemble. In 2007, he created the role of Connie Rivers in The Grapes of Wrath (recorded by P.S. Classics) at the Minnesota Opera, and later made his Utah and Pittsburgh Opera debuts in the same production. Other recent appearances include leading and featured roles with Annapolis Opera, Opera Delaware, Opera Vivente and the Boston Early Music Festival. In concert, Jesse has been a featured soloist with American Bach Soloists, Los Angeles Master Chorale, Sacred Music in a Sacred Space and the Berkshire Choral Festival. He has also given the world premieres of two important chamber works: Ricky Ian Gordon's Green Sneakers (recorded by Blue Griffin Recording) and Lisa Bielawa's The Lay of the Love and Death, the former at the Vail Valley Music Festival, and the latter at Alice Tully Hall. He has toured with the Mark Morris Dance Group and the Waverly Consort, and given recitals for the Marilyn Horne Foundation. Last season, he and pianist Martin Katz performed Schubert's two monumental song cycles, Die schöne Müllerin and Winterreise, over one weekend in Ann Arbor, and will soon repeat this pairing in New York City. Jesse has been recognized in many song and opera competitions, and in 2008 was awarded Third Prize at the International Robert Schumann Competition in Zwickau, becoming its first American prizewinner in over thirty years.
    [Show full text]
  • Gli Esiliati in Siberia, Exile, and Gaetano Donizetti Alexander Weatherson
    Gli esiliati in Siberia, exile, and Gaetano Donizetti Alexander Weatherson How many times did Donizetti write or rewrite Otto mesi in due ore. No one has ever been quite sure: at least five times, perhaps seven - it depends how the changes he made are viewed. Between 1827 and 1845 he set and reset the music of this strange but true tale of heroism - of the eighteen-year-old daughter who struggled through snow and ice for eight months to plead with the Tsar for the release of her father from exile in Siberia, making endless changes - giving it a handful of titles, six different poets supplying new verses (including the maestro himself), with- and-without spoken dialogue, with-and-without Neapolitan dialect, with-and-without any predictable casting (the prima donna could be a soprano, mezzo-soprano or contralto at will), and with-and-without any very enduring resolution at the end so that this extraordinary work has an even-more-fantastic choice of synopses than usual. It was this score that stayed with him throughout his years of international fame even when Lucia di Lammermoor and Don Pasquale were taking the world by storm. It is perfectly possible in fact that the music of his final revision of Otto mesi in due ore was the very last to which he turned his stumbling hand before mental collapse put an end to his hectic career. How did it come by its peculiar title? In 1806 Sophie Cottin published a memoir in London and Paris of a real-life Russian heroine which she called 'Elisabeth, ou Les Exilés de Sibérie'.
    [Show full text]
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • Il Diluvio Universale Cappella Mediterranea Chœur De Chambre De Namur Concert Sa 1Er Décembre 18H • Di 2 Décembre 16H
    Falvetti Il Diluvio Universale Cappella Mediterranea Chœur de chambre de Namur concert sa 1er décembre 18h • di 2 décembre 16h PROG_DILUVIO_140190.indd 1 30/11/2018 17:32 concert +/- 1h10 sans entracte Falvetti Il Diluvio Universale [Le Déluge universel] Dialogue à cinq voix et cinq instruments de Michelangelo Falvetti (1642-1692) Livret de Vincenzo Giattini (1682) Cappella Mediterranea Chœur de Chambre de Namur direction Leonardo García Alarcón Il Diluvio Universale, 2017 - Cappella Mediterranea ©Lorenza Daverio - Basilica di San Marco « Une œuvre d’art est comme une vie en soi. On ressent toutes les émotions les plus intenses en en faisant l’expérience; et ce soir-là étaient conviés ciel et terre, pitié et colère, hommes et entités célestes dans cette œuvre si particulière, douée d’un langage unique. Le déluge d’émotions nous a engloutis, et le baroque a ainsi de nouveau remporté la victoire. » Méert, à Lille depuis 1677… Leonardo García Alarcón et partenaire de l’Opéra de Lille depuis sa réouverture en 2004. PROG_DILUVIO_140190.indd 2-3 30/11/2018 17:32 ••• Programme ••• Il Diluvio universale I. In Cielo [Au Ciel] Cappella Mediterranea Chœur de Chambre de Namur Orchestre des anges, la Justice divine, les Éléments, l’Eau direction Leonardo García Alarcón II. In Terra [Sur Terre] Avec Valerio Contaldo Noé Rad, Noé, Dieu, chœur (enfants de Noé) Mariana Flores Rad Matteo Bellotto Dieu III. Il diluvio [Le Déluge] Evelyn Ramirez Muñoz la Justice divine Fabián Schofrin la Mort La Mort, la Nature humaine, Noé, Rad, chœur (l’Humanité) Julie Roset l’Eau Lucía Martín Cartón la Nature humaine / l’Air IV.
    [Show full text]
  • Preliminaries: Saturday, March 6, 2021 Finals
    Preliminaries: Saturday, March 6, 2021 The Preliminaries will be held for competitors and judges only. Finals: Saturday, March 20, 2021 Live-Streamed Event - 1-5 p.m. The objective of the Denver Lyric Opera Guild is the encouragement and support of young singers and the continuing education of members in the appreciation and knowledge of opera. For more information on DLOG Membership and Member Events www.denverlyricoperaguild.org Denver Lyric Opera Guild Denver Lyric Opera Guild is a non-profit membership organization of over 180 members. DLOG was founded in 1965 to help support the Denver Lyric Opera Company. The opera company was forced to close in 1968, but the Guild pursued other programs in keeping with its purpose to encourage and support young singers and provide continuing education to the members in the appreciation and knowledge of opera. Competition for Colorado Singers In 1984, the Guild inaugurated its signature event, the Competition for Colorado Singers, to support singers ages 23-32 in pursuing their operatic careers. Since then, the Guild has awarded over $850,000 to Competition winners. Hundreds of young singers have successfully launched their operatic and musical careers since winning the Competition. Grants The Guild provides grants to Colorado’s colleges and universities for vocal scholarships, and to apprentice opera programs. Over the years, these grants have totaled over $812,000 from the earnings on our endowment. Grants are given to the voice performance programs at Colorado State University, Metro State University of Denver, University of Colorado, University of Denver, University of Northern Colorado, and young artist apprentice programs of Central City Opera, Opera Colorado, Opera Fort Collins, and Opera Theatre of the Rockies in Colorado Springs.
    [Show full text]
  • January 11, 2021 in Accordance with Section 2Ofthe Confirmation Act
    MURIEL BOWSER MAYOR January 11, 2021 The Honorable Phil Mendelson Chairman Council of the District of Columbia John A. Wilson Building 1350 Pennsylvania Avenue, NW, Suite 504 Washington, DC 20004 Dear Chairman Mendelson: In accordance with section 2 of the Confirmation Act of 1978, effective March 3, 1979 (D.C. Law 2-142; D.C. Official Code § 1-523.01), and pursuant to section 305 of the Fiscal Year 2002 Budget Support Act of 2001, effective October 3, 2001 (D.C. Law 14-28; D.C. Official Code § 2-1374), which established the Commission on Asian and Pacific Islander Community Development (“Commission”), I am pleased to nominate the following person: Mr. John Tinpe 7th Street, NW Washington, DC 20001 (Ward 2) for reappointment as a public voting member of the Commission, fora term to end April 17, 2022. Enclosed, you will find biographical information detailing the experience of the above-mentioned nominee, together with a proposed resolution to assist the Council during the confirmation process. 1 would appreciate the Council’s earliest consideration of this nomination for confirmation. Please do not hesitate to contact me, or Steven Walker, Director, Mayor's Office of Talent and Appointments, should the Council require additional information. Sincerely, Mutiel Bolyser fle Hreee— Chairman Phil Mendelson at the request of the Mayor A PROPOSED RESOLUTION IN THE COUNCIL OF THE DISTRICT OF COLUMBIA To confirm the reappointment of Mr. John Tinpe to the Commission on Asian and Pacific Islander Community Development. RESOLVED, BY THE COUNCIL OF THE DISTRICT OF COLUMBIA, That this resolution may be cited as the “Commission on Asian and Pacific Islander Community Development John Tinpe Confirmation Resolution of 2021”.
    [Show full text]
  • ISSN-2443-9762 57 Storie Di Diluvio Universale Sono Presenti Nelle
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositorio de Objetos de Docencia e Investigación de la... MITI DI DILUVIO IN GRECIA E IN AUSTRALIA E LA RESILIENZA IN AZIONE – UNO STUDIO COMPARATIVO SULLE RISPOSTE DELLE SOCIETÀ ORALI ALLE CATASTROFI NATURALI FLOOD MYTHS IN GREECE AND AUSTRALIA AND RESILIENCE IN ACTION – A COMPARATIVE STUDY ABOUT ORAL-BASED SOCIETIES ANSWERS TO NATURAL CATASTROPHES. LOREDANA LANCINI [email protected] 1 UNIVERSITÉ DU MAINE [RECIBIDO 27/12/2018; ACEPTADO 26/04/2019] RIASSUNTO Storie di diluvio universale sono presenti nelle tradizioni culturali in 57 tutto il mondo e sono state sempre tendenzialmente interpretate come fittizie. Tuttavia, è possibile collegare alcune di queste storie a un preciso evento geologico, soprattutto quando esse sono localizzate in zone che hanno subito durante l’Olocene l’innalzamento del livello del mare, come dimostrato da recenti studi geoarcheologici e geologici, il che ci informa sulla consapevolezza dei popoli antichi dei cambiamenti ambientali. Questa ricerca propone l’analisi di storie di diluvio dall’antica Grecia (il noto diluvio di Deucalione, così come storie di diluvi circoscritti geograficamente come quello di Dardano e di Cerambo) e un confronto con storie provenienti dagli antichi popoli aborigeni australiani. L’obiettivo è cercare di comprendere la capacità resiliente delle popolazioni costiere, il processo di conservazione nella memoria collettiva di eventi catastrofici e la loro codificazione in storie 1 PhD student. Centre de Recherche en Archéologie, Archéosciences, Histoire (CReAAH) – UMR 6566 (CNRS) – Le Mans Université. L. Lancini « Miti di diluvi in Grecia e in Australia e la resilienza in azione.
    [Show full text]
  • Philharmonia Orchestra Ducted by Valery Gergiev
    CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, November 9, 2012, 8pm Esa-Pekka Salonen (b. 1958) Zellerbach Hall Helix Composed in 2005. Premiered on August 29, 2005, in London by the World Orchestra for Peace con- Philharmonia Orchestra ducted by Valery Gergiev. Esa-Pekka Salonen, Principal Conductor & Artistic Advisor Conducting is tough, composing probably even harder, but some of the most brilliant musi- PROGRAM cians—Busoni, Mahler, Bernstein, Boulez, Previn—have pursued parallel careers in both fields that enriched all the facets of their creative Esa-Pekka Salonen (b. 1958) Helix (2005) personalities. To this select company must now be added the Finnish composer-conductor Esa- Pekka Salonen. Born in Helsinki on June 30, 1958, Salonen majored in horn at the Sibelius Ludwig van Beethoven (1770–1827) Symphony No. 7 in A major, Op. 92 Conservatory, where he founded a “collective” (1811–1812) called Ears Open for promoting and perform- I. Poco sostenuto — Vivace ing new music with Jouni Kaipainen, Magnus II. Allegretto Lindberg, and Kaija Saariaho, now all major Esa-Pekka Salonen III. Presto — Assai meno presto musical figures in Finland. After graduating IV. Allegro con brio in 1977, Salonen studied composition privately Illustration by Tom Bachtell with Einojuhani Rautavaara and conducting with Jorma Panula, and attended conducting He also continues to guest conduct concerts and INTERMISSION courses in Siena and Darmstadt; he also stud- opera throughout the world and to serve as ar- ied composition with Niccolò Castiglioni and tistic director of the Baltic Sea Festival, which Franco Donatoni in Italy. In 1979, Salonen he co-founded in 2003.
    [Show full text]