Daily #11 Als PDF Downloaden

Total Page:16

File Type:pdf, Size:1020Kb

Load more

DailyNr. 11, 8. August 2007 Junge Sänger in Salzburg Das Jahr der Entdeckungen Foto: wildbild.at Eugen Onegin,Eugen SALZBURGER FESTSPIELE 2007 Anna Samuil in Samuil Anna SALZBURGER FESTSPIELE 2007Daily Nr. 11, 8. August 2007 Ernst Peter Fischer im Gespräch mit Teilnehmern der ersten Runde der Roche Continents – Youth! Arts! Science! Junge Studenten aus Europa beim ersten Get Together in Klessheim. Sie werden sich eine Woche lang bei Vorträgen, Der Wissenschaftshistoriker spricht im Rahmen des Continents-Programms über „Creativity in Arts and Science“ Workshops und Konzerten mit Kunst und Wissenschaft auseinandersetzen Fotos: wildbild.at ine besondere Zusammenarbeit verbindet die Salzburger Festspiele und Roche seit diesem special relationship has been established between the Salzburg Festival and Roche since this Jahr: Die Kontinente-Reihe, ein neuer Schwerpunkt im Konzertprogramm der Festspiele, der year: the series Continents, a new focus within the Festival’s concert program, will present Eherausragende Komponistenpersönlichkeiten des 20. und 21. Jahrhunderts präsentiert. Aextraordinary composers of the 20th and 21st century. This year, it is dedicated to Giacinto Heuer ist die Serie Giacinto Scelsi und 2008 Salvatore Sciarrino gewidmet. Scelsi; in 2008 it will be Salvatore Sciarrino. Darüber hinaus findet begleitend und heuer ebenfalls zum ersten Mal ein Projekt für junge Stu- denten unter dem Titel Roche Continents – Youth! Arts! Science! statt. Am Sonntag trafen die rund Moreover, there will be an accompanying project that also has its premiere this year and addresses 100 ausgewählten Studenten aus ganz Europa in Klessheim zusammen. Ein Hauptziel der auf den young students, entitled Roche Continents – Youth! Arts! Science! On Sunday, the 100 selected stu- wissenschaftlichen Nachwuchs ausgerichteten Veranstaltung ist es, Gemeinsamkeiten zwischen In- dents from all over Europe met in Klessheim for the first time. One of the main goals of the sympo- novationen in Kunst und Musik und Naturwissenschaften aufzuzeigen. sium for and with tomorrow’s scientists is to identify connections between innovation in art and In zahlreichen Workshops, bei Vorträgen, im Rahmen von Künstlergesprächen sowie bei Pro- music and in the natural sciences. ben- und Konzertbesuchen werden sich die Studenten eine Woche lang mit Kunst und Wissen- In numerous workshops, lectures, artist conversations and open rehearsals as well as performances schaft auseinandersetzen. they attend, the students will spend a week discussing and learning about art and science. Festspiele Inside Kunst und Tod m Rahmen der von Michael Fischer geleite- s part of the Festival Dialogues organized ten Festspiel-Dialoge referiert Thomas by Michael Fischer, Thomas Macho will IMacho heute, Mittwoch, um 11.30 Uhr, im Aspeak today (Wednesday) about death Schüttkasten unter dem Titel „Jedermanns metaphors in art under the title “Jedermann’s Tod“ über Todesmetaphern und Kunst. Der Death” at 11:30 a.m. at the Schüttkasten. 1952 in Wien geborene Thomas Macho stu- Thomas Macho, born in 1952 in Vienna, studied dierte Philosophie, Musikwissenschaft und Pä- philosophy, musicology and education at the dagogik an der Universität Wien. University of Vienna. In 1993 he was made 1993 wurde Macho an den Lehrstuhl für professor for cultural history at the Humboldt Kulturgeschichte an die Berliner Humboldt- University in Berlin. He is one of the founders of Universität berufen. Er ist Mitbegründer des the Hermann von Helmholtz Center in Berlin Berliner Hermann von Helmholtz-Zentrums and has been awarded the prize of the Aby und Preisträger der Aby-Warburg-Stiftung Warburg Foundation. Thomas Macho has been Hamburg. Seit 2006 ist Thomas Macho Dekan Dean of the Philosophical Faculty III of the der Philosophischen Fakultät III der Hum- Humboldt University in Berlin since 2006. boldt-Universität Berlin. Cancellation. Barbara Frey, who is currently Abgesagt. Barbara Frey, die Heiner Müllers directing Heiner Müller’s Quartett for the Quartett für die Festspiele (Premiere: 11. Au- Festival (premiere on August 11), had to cancel gust) inszeniert, musste ihr für heute, Mitt- her conversation with Hedwig Kainberger that woch, 15.30 Uhr, angesetztes Gespräch mit had been announced for today (Wednesday) at Hedwig Kainberger kurzfristig absagen. 3:30 p.m. Jedermann: Peter Simonischek, Clemens Schick, Sven-Eric Bechtolf Foto: Clärchen & Matthias Baus Peter Mattei: Kühler Dandy mit samtigem Timbre it lässig kühler Dandy-Attitude von erschrek- ith the chilly and nonchalant attitude of a kender Gleichgültigkeit beeindruckt Peter dandy and an alarming indifference, Peter MMattei derzeit in der Titelrolle von Tschai- WMattei is currently making a great impression kowskis Eugen Onegin. Seinem Spiel beinahe entgegen in the title role of Tchaikovsky’s Eugene Onegin. What is steht sein lyrisch-kraftvoller, warm und farbenreich almost opposed to his acting is his lyrical and strong timbrierter Bariton, der diesen Sänger längst zu den warm baritone voice with its rich timbre – a voice that führenden Vertretern seines Stimmfachs auf den wich- has long made this singer one of the leading exponents of tigsten internationalen Opernbühnen gemacht hat. his fach on the major international opera stages. The Der schwedische Bariton, der in Stockholm studierte, Swedish baritone, who studied in Stockholm, has made hat dabei eine beeindruckend stetige und seriöse Kar- an impressively steady and serious career for himself. riere vorgelegt. In 1990, he made his debut as Nardo in Mozart’s La 1990 debütierte er als Nardo in Mozarts La finta finta giardiniera in Drottningholm. His subsequent giardiniera in Drottningholm. Im Mozartfach folgten triumphs were also in Mozart roles. Especially his Don auch die weiteren Erfolge. Vor allem mit seinem Don Giovanni in Peter Brook’s legendary production at the Giovanni in der legendären Inszenierung von Peter Festival in Aix-en-Provence made headlines. He has Brook bei den Festspielen in Aix-en-Provence erregte worked with conductors such as Claudio Abbado, Sir er Aufsehen. Er hat mit Dirigenten wie Claudio Georg Solti, Daniel Barenboim, Riccardo Chailly and Abbado, Sir Georg Solti, Daniel Barenboim, Riccardo Antonio Pappano. Most recently, he also sang Don Gio- Chailly und Antonio Pappano gearbeitet. Zuletzt war vanni in the first foray of filmmaker Michael Haneke er auch der Don Giovanni in der international mit gro- into opera directing at the Bastille Opera in Paris, which ßer Aufmerksamkeit bedachten ersten Opernregie von received much international attention. But belcanto Filmemacher Michael Haneke an der Pariser Bastille- parts also form part of his repertoire, as well as roles like Oper. Aber auch Partien des Belcanto bis hin zu Rollen Wagner’s Wolfram. Peter Mattei made his Salzburg debut wie Wagners Wolfram von Eschenbach zählen zum Re- in 1996 as Don Fernando in Fidelio (Sir Georg Solti, pertoire des Sängers. Sein Salzburger Debüt absolvier- Herbert Wernicke); in 2001 he sang the Count in Chris- te Peter Mattei 1996 als Don Fernando in Beethovens toph Marthaler’s production of Le nozze di Figaro. Fidelio (Sir Georg Solti, Herbert Wernicke); 2001 war er der Graf in Christoph Marthalers Inszenierung von Karten für die Vorstellung am 8. August zu € 280,– Mozarts Le nozze di Figaro. verfügbar. Peter Mattei Foto: Micke Lundström SALZBURGER FESTSPIELE 2007Daily Nr. 11, 8. August 2007 Meine Meinung Das Jahr der Entdeckungen my comment Viele junge, ernsthafte Sänger feiern derzeit große Erfolge bei den Salzburger Festspielen und werden vom Publikum be- geistert akklamiert. Ein neues, exzellentes Salzburger Ensemble wächst hier für die Zukunft zusammen. Ein Beitrag in Wort und Bild stellt die Künstler vor, die in den Opernproduktionen des heurigen Festspiel-Sommers mitwirken. ach den vielen erfolgreichen Pre- Opéra, Benvenuto Cellini mit Burkhard Fritz, mieren, die wir in der Oper schon Laurent Naouri, Mikhail Petrenko und der Nhatten, stellen mir Besucher immer die jungen Maija Kovalevska. Vielleicht erleben gleiche Frage: Wer ist denn diese Sängerin oder wir einen Generationswechsel. jener Sänger? Die Zuschauer meinen viele Bald hebt sich auch der Vorhang vor Claus unserer fast noch unbekannten und doch so Guths Figaro. Mit Dorothea Röschmann, Ge- wunderbaren jungen Künstler. Annette Dasch, rald Finley, Diana Damrau, Martina Janková, die mit Armida einen großen Triumph erlebt, Luca Pisaroni und und und. Herz, was willst du die Zelmira von Mojca Erdmann, die die Zu- mehr? schauer in der Felsenreitschule begeistert und Auch diese gehören wie Michael Schade, Bernard Richter, der den Clotarco gibt. Richard Croft, Ferrucchio Furlanetto, Peter Und Joseph Kaiser, der einen berührenden Seiffert, Petra Maria Schnitzer und viele ande- Lenski singt, armseliges Opfer eines zynischen re zu einem wunderbaren Ensemble, das sich Onegin des brillanten Peter Mattei. Und Anna in diesem Sommer bei unseren Festspielen Sergio Morabito Foto: A.T. Schaefer Samuil und die Gubanova! eingefunden hat. Haben Sie schon John Relyea als Kaspar und Günther Groissböck als Eremiten gehört? Und allen Skeptikern sei ins Stammbuch ge- ei einigen dürfte es sich schon her- Sie alle sind junge Künstler, die für das schrieben: Die Kunst wiegt in Salzburg wahr- umgesprochen haben: im Salzbur- Theater und unsere Zuschauer mit großem lich mehr als der lärmende Jahrmarkt des Bger Onegin ist „Felsensteins Car- Elan proben und singen. Und der Erfolg gibt Kommerz. men“ zu erleben! Und zwar in der Rolle ihnen recht! Nun freuen wir uns
Recommended publications
  • WAGNER Die Walküre

    WAGNER Die Walküre

    660172-74 bk Walküre US 17/7/06 10:28 Page 16 3 CDs Recorded at the Staatsoper Stuttgart, Germany, WAGNER on 29th September 2002 and 2nd January 2003. General Director: Prof. Klaus Zehelein Die Walküre Executive Producers: Dr Reinhard Ermen (SWR Radio), Gambill • Jun • Rootering • Denoke • Behle • Vaughn Dr Dietrich Mack (SWR TV) and Paul Smaczny (EuroArts) Staatsoper Stuttgart • Staatsorchester Stuttgart Producer: Thomas Angelkorte Editor: Irmgard Bauer Lothar Zagrosek Engineers: Brigitte Hermann and Karl-Heinz Runde This performance of Die Walküre is the second part of Wagner’s Ring cycle recorded live during Stuttgart Opera’s 2002/2003 season. For the first time in the history of the Ring cycle each of the four operas was staged with separate producers and casts. A production of EuroArts Music International GmbH and Südwestrundfunk in co-operation with ARTE Gefördert von der Medien- und Filmgesellschaft Baden-Württemberg 8.660172-74 16 660172-74 bk Walküre US 17/7/06 10:28 Page 2 Die Walküre Stuttgart Staatsorchester (The Valkyrie) Established in 1589 as the Court Orchestra of Württemberg, the Württemberg Stuttgart State Orchestra has a history The First Day of over four hundred years. Over the generations there have been collaborations with musicians of distinction, among them Leonhard Lechner, the Frobergers, Niccolò Jommelli, Johann Rudolf Zumsteeg, Konradin Kreutzer, of Johann Nepomuk Hummel and Carl Maria von Weber. Berlioz praised the orchestra, when he appeared with it as Der Ring des Nibelungen conductor, and in the 1880s Stuttgart was one of the first to stage the complete Ring cycle, conducted by the then (The Ring of the Nibelung) General Music Director Herman Zumpe, who had assisted Wagner at the first Bayreuth Festival.
  • Iolanta Bluebeard's Castle

    Iolanta Bluebeard's Castle

    iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today.
  • Premieren Der Oper Frankfurt Ab September 1945 Bis Heute

    Premieren Der Oper Frankfurt Ab September 1945 Bis Heute

    Premieren der Oper Frankfurt ab September 1945 bis heute Musikalische Leitung der Titel (Title) Komponist (Composer) Premiere (Conductor) Regie (Director) Premierendatum (Date) Spielzeit (Season) 1945/1946 Tosca Giacomo Puccini Ljubomir Romansky Walter Jokisch 29. September 1945 Das Land des Lächelns Franz Lehár Ljubomir Romansky Paul Kötter 3. Oktober 1945 Le nozze di Figaro W.A. Mozart Dr. Karl Schubert Dominik Hartmann 21. Oktober 1945 Wiener Blut Johann Strauß Horst-Dietrich Schoch Walter Jokisch 11. November 1945 Fidelio Ludwig van Beethoven Bruno Vondenhoff Walter Jokisch 9. Dezember 1945 Margarethe Charles Gounod Ljubomir Romansky Walter Jokisch 10. Januar 1946 Otto und Theophano Georg Friedrich Händel Bruno Vondenhoff Walter Jokisch 22. Februar 1946 Die Fledermaus Johann Strauß Ljubomir Romansky Paul Kötter 24. März 1946 Zar und Zimmermann Albert Lortzing Ljubomir Romansky Heinrich Altmann 12. Mai 1946 Jenufa Leoš Janáček Bruno Vondenhoff Heinrich Altmann 19. Juni 1946 Spielzeit 1946/1947 Ein Maskenball Giuseppe Verdi Bruno Vondenhoff Hans Strohbach 29. September 1946 Così fan tutte W.A. Mozart Bruno Vondenhoff Hans Strohbach 10. November 1946 Gräfin Mariza Emmerich Kálmán Georg Uhlig Heinrich Altmann 15. Dezember 1946 Hoffmanns Erzählungen Jacques Offenbach Werner Bitter Karl Puhlmann 2. Februar 1947 Die Geschichte vom Soldaten Igor Strawinsky Werner Bitter Walter Jokisch 30. April 1947 Mathis der Maler Paul Hindemith Bruno Vondenhoff Hans Strohbach 8. Mai 1947 Cavalleria rusticana / Pietro Mascagni / Werner Bitter Heinrich Altmann 1. Juni 1947 Der Bajazzo Ruggero Leoncavallo Spielzeit 1947/1948 Ariadne auf Naxos Richard Strauss Bruno Vondenhoff Hans Strohbach 12. September 1947 La Bohème Giacomo Puccini Werner Bitter Hanns Friederici 2. November 1947 Die Entführung aus dem W.A.
  • William Kentridge Brings 'Wozzeck' Into the Trenches

    William Kentridge Brings 'Wozzeck' Into the Trenches

    William Kentridge Brings ‘Wozzeck’ Into the Trenches The artist’s production of Berg’s brutal opera, updated to World War I, has come to the Metropolitan Opera. By Jason Farago (December 26, 2019) ”Credit...Devin Yalkin for The New York Times Three years ago, on a trip to Johannesburg, I had the chance to watch the artist William Kentridge working on a new production of Alban Berg’s knifelike opera “Wozzeck.” With a troupe of South African performers, Mr. Kentridge blocked out scenes from this bleak tale of a soldier driven to madness and murder — whose setting he was updating to the years around World War I, when it was written, through the hand-drawn animations and low-tech costumes that Metropolitan Opera audiences have seen in his stagings of Berg’s “Lulu” and Shostakovich’s “The Nose.” Some of what I saw in Mr. Kentridge’s studio has survived in “Wozzeck,” which opens at the Met on Friday. But he often works on multiple projects at once, and much of the material instead ended up in “The Head and the Load,” a historical pageant about the impact of World War I in Africa, which New York audiences saw last year at the Park Avenue Armory. Mr. Kentridge’s “Wozzeck” premiered at the Salzburg Festival in 2017. Zachary Woolfe of The New York Times called it “his most elegant and powerful operatic treatment yet.” At the Met, the Swedish baritone Peter Mattei will sing the title role for the first time; Elza van den Heever, like Mr. Kentridge from Johannesburg, plays his common-law wife, Marie; and Yannick Nézet- Séguin, the company’s music director, will conduct.
  • Programme Artikulationen 2017

    Programme Artikulationen 2017

    Programme ARTikulationen 2017 Introduction 2 Research Festival Programme 4 Thursday, 5 October 2017 6 Friday, 6 October 2017 29 Saturday, 7 October 2017 43 Further Doctoral Researchers (Dr. artium), Internal Supervisors and External Advisors 51 Artistic Doctoral School: Team 68 Venues and Public Transport 69 Credits 70 Contact and Partners 71 1 Introduction ARTikulationen. A Festival of Artistic Research (Graz, 5–7 October 2017) Artistic research is currently a much-talked about and highly innovative field of know- ledge creation which combines artistic with academic practice. One of its central features is ambitious artistic experiments exploring musical and other questions, systematically bringing them into dialogue with reflection, analysis and other academic approaches. ARTikulationen, a two-and-a-half day festival of artistic research that has been running under that name since 2016, organised by the Artistic Doctoral School (KWDS) of the Uni- versity of Music and Performing Arts Graz (KUG), expands the pioneering format deve- loped by Ulf Bästlein and Wolfgang Hattinger in 2010, in which the particular moment of artistic research – namely audible results, which come about through a dynamic between art and scholarship that is rooted in methodology – becomes something the audience can understand and experience. In Alfred Brendel, Georg Friedrich Haas and George Lewis, the festival brings three world- famous and influential personalities and thinkers from the world of music to Graz as key- note speakers. George Lewis will combine his lecture with a version of his piece for soloist and interactive grand piano. The presentations at ARTikulationen encompass many different formats such as keynotes, lecture recitals, guest talks, poster presentations and a round table on practices in artistic research.
  • Naxcat2005 ABRIDGED VERSION

    Naxcat2005 ABRIDGED VERSION

    CONTENTS Foreword by Klaus Heymann . 4 Alphabetical List of Works by Composer . 6 Collections . 88 Alphorn 88 Easy Listening 102 Operetta 114 American Classics 88 Flute 106 Orchestral 114 American Jewish Music 88 Funeral Music 106 Organ 117 Ballet 88 Glass Harmonica 106 Piano 118 Baroque 88 Guitar 106 Russian 120 Bassoon 90 Gypsy 109 Samplers 120 Best Of series 90 Harp 109 Saxophone 121 British Music 92 Harpsichord 109 Trombone 121 Cello 92 Horn 109 Tr umpet 121 Chamber Music 93 Light Classics 109 Viennese 122 Chill With 93 Lute 110 Violin 122 Christmas 94 Music for Meditation 110 Vocal and Choral 123 Cinema Classics 96 Oboe 111 Wedding 125 Clarinet 99 Ondes Martenot 111 White Box 125 Early Music 100 Operatic 111 Wind 126 Naxos Jazz . 126 Naxos World . 127 Naxos Educational . 127 Naxos Super Audio CD . 128 Naxos DVD Audio . 129 Naxos DVD . 129 List of Naxos Distributors . 130 Naxos Website: www.naxos.com NaxCat2005 ABRIDGED VERSION2 23/12/2004, 11:54am Symbols used in this catalogue # New release not listed in 2004 Catalogue $ Recording scheduled to be released before 31 March, 2005 † Please note that not all titles are available in all territories. Check with your local distributor for availability. 2 Also available on Mini-Disc (MD)(7.XXXXXX) Reviews and Ratings Over the years, Naxos recordings have received outstanding critical acclaim in virtually every specialized and general-interest publication around the world. In this catalogue we are only listing ratings which summarize a more detailed review in a single number or a single rating. Our recordings receive favourable reviews in many other publications which, however, do not use a simple, easy to understand rating system.
  • Così Fan Tutte

    Così Fan Tutte

    Wolfgang Amadeus Mozart Così fan tutte CONDUCTOR Opera in two acts James Levine Libretto by Lorenzo Da Ponte PRODUCTION Lesley Koenig Saturday, April 26, 2014, 1:00–4:40 pm SET & COSTUME DESIGNER Michael Yeargan LIGHTING DESIGNER Duane Schuler STAGE DIRECTOR Robin Guarino This production of Così fan tutte was made possible by a generous gift from Alberto Vilar. Additional funding was provided by the Metropolitan Opera Club; the Denenberg Foundation, in honor of Dan Denenberg; The DuBose and Dorothy Heyward Memorial Fund; and the late Mr. and Mrs. Samuel L. Tedlow. The revival of this production is made possible GENERAL MANAGER Peter Gelb by a gift from DOLCE & GABBANA. MUSIC DIRECTOR James Levine PRINCIPAL CONDUCTOR Fabio Luisi 2013–14 Season The 184th Metropolitan Opera performance of Wolfgang Amadeus Mozart’s Così fan tutte This performance is being broadcast live over The Conductor Toll Brothers– James Levine Metropolitan Opera International IN ORDER OF VOCAL APPEARANCE Radio Network, sponsored by Ferrando Toll Brothers, Matthew Polenzani America’s luxury homebuilder®, with Guglielmo generous long-term Rodion Pogossov* support from Don Alfonso The Annenberg Maurizio Muraro Foundation, The Neubauer Family Fiordiligi Foundation, the Susanna Phillips Vincent A. Stabile Endowment for Dorabella Broadcast Media, Isabel Leonard and contributions from listeners Despina worldwide. Danielle de Niese* This performance is Cello Continuo also being broadcast David Heiss live on Metropolitan Opera Radio on Harpsichord Continuo SiriusXM channel 74. Howard Watkins* Saturday, April 26, 2014, 1:00–4:40 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation.
  • Circling Opera in Berlin by Paul Martin Chaikin B.A., Grinnell College

    Circling Opera in Berlin by Paul Martin Chaikin B.A., Grinnell College

    Circling Opera in Berlin By Paul Martin Chaikin B.A., Grinnell College, 2001 A.M., Brown University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in the Department of Music at Brown University Providence, Rhode Island May 2010 This dissertation by Paul Martin Chaikin is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date_______________ _________________________________ Rose Rosengard Subotnik, Advisor Recommended to the Graduate Council Date_______________ _________________________________ Jeff Todd Titon, Reader Date_______________ __________________________________ Philip Rosen, Reader Date_______________ __________________________________ Dana Gooley, Reader Approved by the Graduate Council Date_______________ _________________________________ Sheila Bonde, Dean of the Graduate School ii Acknowledgements I would like to thank the Deutsche Akademische Austauch Dienst (DAAD) for funding my fieldwork in Berlin. I am also grateful to the Institut für Musikwissenschaft und Medienwissenschaft at Humboldt-Universität zu Berlin for providing me with an academic affiliation in Germany, and to Prof. Dr. Christian Kaden for sponsoring my research proposal. I am deeply indebted to the Deutsche Staatsoper Unter den Linden for welcoming me into the administrative thicket that sustains operatic culture in Berlin. I am especially grateful to Francis Hüsers, the company’s director of artistic affairs and chief dramaturg, and to Ilse Ungeheuer, the former coordinator of the dramaturgy department. I would also like to thank Ronny Unganz and Sabine Turner for leading me to secret caches of quantitative data. Throughout this entire ordeal, Rose Rosengard Subotnik has been a superlative academic advisor and a thoughtful mentor; my gratitude to her is beyond measure.
  • Musicalische Exequien

    Musicalische Exequien

    BERNVOCAL Leitung: Fritz Krämer bernvocal.ch Heinrich Schütz (1 585–1 672) Musicalische Exequien PROGRAMM Fr 1 3.1 1 .201 5 20.00 Bern, Nydeggkirche Sa 1 4.1 1 .201 5 20.00 Biel, Stadtkirche So 1 5.1 1 .201 5 1 7.00 Fribourg, Couvent des Capucins PRO G RAM M Herr, nun lässest du deinen Diener in Frieden fahren SWV 432 LUKAS 2, 29–32 Das ist je gewisslich wahr SWV 277 1 . TIMOTHEUS 1 , 1 5 Unser Wandel ist im Himmel SWV 390 PHILIPPER 3, 20–21 Herzlich lieb hab ich dich, o Herr SWV 387 [MARTIN SCHALLING] Gutes und Barmherzigkeit werden mir folgen SWV 95 PSALM 23, 6 Michael Praetorius (1 571 –1 621 ): Ballet (aus Terpsichore) Musicalische Exequien I. Konzert in Form einer deutschen Begräbnis-Missa SWV 279 Nacket bin ich von Mutterleibe kommen HIOB 1 , 21 Nacket werde ich wiederum dahin fahren HIOB 1 , 21 Herr Gott, Vater im Himmel [KYRIE I] Christus ist mein Leben PHILIPPER 1 , 21 ; JOHANNES 1 , 29 Jesu Christe, Gottes Sohn [CHRISTE] Leben wir, so leben wir dem Herren RÖMER 1 4, 8 Herr Gott, heiliger Geist [KYRIE II] Also hat Gott die Welt geliebt JOHANNES 3, 1 6 Auf dass alle, die an ihn gläuben JOHANNES 3, 1 6 Er sprach zu seinem lieben Sohn [MARTIN LUTHER 1 523] Das Blut Jesu Christi 1 . JOHANNES 1 , 7 Durch ihn ist uns vergeben [LUDWIG HELMBOLD 1 575] Unser Wandel ist im Himmel PHILIPPER 3, 20–21 Es ist allhier ein Jammertal [JOHANN LEON 1 592–98] Wenn eure Sünde gleich blutrot wäre JESAJA 1 , 1 8 Sein Wort, sein Tauf, sein Nachtmahl [LUDWIG HEMBOLD 1 575] Gehe hin, mein Volk JESAJA 26, 20 Der Gerechten Seelen sind in Gottes Hand WEISHEIT 3, 1 –3 Herr, wenn ich nur dich habe PSALM 73, 25 Wenn mir gleich Leib und Seele verschmacht PSALM 73, 26 Er ist das Heil und selig Licht [MARTIN LUTHER 1 524] Unser Leben währet siebenzig Jahr PSALM 90, 1 0 Ach, wie elend [JOHANNES GIGAS 1 566] Ich weiss, dass mein Erlöser lebt HIOB 1 9, 25–26 Weil du vom Tod erstanden bist [NIKOLAUS HERMAN 1 560] Herr, ich lasse dich nicht 1 .
  • LA VESTALE GASPARE SPONTINI Alessandro De Marchi & Eric Lacascade

    LA VESTALE GASPARE SPONTINI Alessandro De Marchi & Eric Lacascade

    PRESS FILE OPERA LA VESTALE GASPARE SPONTINI Alessandro de Marchi & Eric Lacascade 13, 15, 17, 20, 22 October 2015 20:00 25 October 2015 15:00 CIRQUE ROYAL / KONINKLIJK CIRCUS Opéra en trois actes, version française Livret de Victor-Joseph Etienne de Jouy Premiere Salle Montsansier, Paris, 15/12/1807 NEW PRODUCTION I – INTRODUCTION WITH BIOGRAPHIES THE FLAMES OF THE VESTAL ALTAR SET THE SCORE ALIGHT Since La Vestale, not a note of music has been written that wasn’t stolen from my scores!’ Gaspare Spontini was himself aware of how innovative and influential his score was. He turned opera in a new direction by conceiving the whole score on the basis of a compelling dramatic conception involving naturalistic effects, orchestration, and musical form, thereby pointing the way for such opera composers as Rossini, Wagner, Berlioz, and Meyerbeer. As a grand opera it was ahead of its time and was full of spectacular scenes showing a Vestal Virgin’s forbidden love for a Roman general; it made Spontini the most important composer of the Napoleonic period. Here directing his first opera, the French stage director Éric Lacascade focuses on a highly topical subject: ‘More than passionate love, what is at stake in this opera is the liberation of a woman who frees herself from the power of religious authority.’ COMPOSER & WORK Born in 1774 in Italy, Gaspare Spontini (1774-1851) imposed a new style to French music, mixing his Neapolitan inspiration to the genre of French lyric tragedy and thus creating what may be termed as Grand Historic Opera. The Italian composer, who became French in 1817, began a brilliant career in Rome and Venice after his studies at the Royal Conservatory of Naples.
  • Handel Newsletter-2/2001 Pdf

    Handel Newsletter-2/2001 Pdf

    NEWSLETTER of The American Handel Society Volume XV, Number 3 December 2000 MHF 2001 The 2001 Maryland Handel Festival & Conference marks the conclusion of the Festival’s twenty-year project of performing all Handel’s dramatic English oratorios in order of composition. With performances of THEODORA, May 4 and JEPHTHA, May 6 conducted by Paul Traver, we welcome back to the MHF stage soloists from previous seasons including: Linda Mabbs and Sherri Karam, soprano; Lorie Gratis and Leneida Crawford, mezzo-soprano; Derek Lee Ragin, countertenor; Charles Reid, tenor; Philip Collister, bass; with the Smithsonian Chamber Orchestra, Kenneth Slowik, Music Director; the University of Maryland Chorus, Edward Maclary, Music Director; and The Maryland Boys Choir, Joan Macfarland, director. As always, the American Handel Society and Maryland Handel Festival will join forces to present a scholarly conference, which this year brings together internationally renowned scholars from Canada, England, France, Germany, and the United States, and which will consist of four conference sessions devoted to various aspects of Handel studies today. Special events include the Howard Serwer Lecture (formerly the American Handel Society Lecture), to be presented on Saturday May 5 by the renowned HANDEL IN LONDON scholar Nicholas Temperley, the American Handel Society Dinner, later that same evening, and the pre- By 2002 there will be at least six different institutions concert lecture on Sunday May 6. in London involved with Handel: The conference and performances will take place in 1. British Library the new Clarice Smith Performing Arts Center at the University of Maryland; lodgings will once again be located at the Inn and Conference Center, University The British Library, holding the main collection of of Maryland University College, where the Society Handel autographs, is (together with the Royal dinner will also take place.
  • Program Notes

    Program Notes

    Monday Evening, July 25, 2016, at 8:00 pm m Opening-Night Program a r The Illuminated Heart (World premiere) g Selections from Mozart’s Operas o r P Mostly Mozart Festival Orchestra Louis Langrée , Conductor e Netia Jones , Director, Designer, and Illuminations M|M h Kiera Duffy , Soprano M|M T Christine Goerke , Soprano Ana María Martínez , Soprano M|M Nadine Sierra , Soprano M|M Marianne Crebassa , Mezzo-soprano M|M Daniela Mack , Mezzo-soprano (New York debut) Matthew Polenzani , Tenor Christopher Maltman , Baritone M|M Peter Mattei , Baritone M|M Peter Carwell , Program Consultant Andrew Hill , Director of Lighting This program is approximately 90 minutes long and will be performed without intermission. The Illuminated Heart was commissioned by Lincoln Center for the Performing Arts. M|M Mostly Mozart debut (Program continued) Please make certain all your electronic devices are switched off. The Mostly Mozart Festival is made possible by Renée and Robert Belfer, Sarah Billinghurst Solomon and Howard Solomon, and Rita E. and Gustave M. Hauser. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Fortepiano by R.J. Regier, Freeport, Maine David Geffen Hall Mostly Mozart Festival Additional support is made possible by Chris and Bruce Crawford, Laurie M. Tisch Illumination Fund, Anne and Joel Ehrenkranz, The Howard Gilman Foundation, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support